Dad Reviews: Dragon Age The Veilguard
Welcome to the first entry in my new series, Dad Reviews! As a father with limited time to dive into lengthy games, I’ve decided to take a more thoughtful approach to reviewing games after I’ve had the chance to truly experience them—sometimes long after the hype has died down. These reviews are meant to be unbiased and honest, written from the perspective of someone juggling real-life responsibilities while still trying to squeeze in some gaming magic. Today, I’ll be tackling Dragon Age: The Veilguard, the long-awaited addition to the Dragon Age series.
I’ve played all the Dragon Age games from the very beginning, starting with Origins, then slogging through DA2, and absolutely loving Inquisition. While I’ll always hold a special place for Origins and its groundbreaking RPG storytelling, I’ll be using Inquisition as my main point of comparison for this review. Why? Because Origins and DA2 are old now, and it wouldn’t be fair to hold them against modern games like The Veilguard. So, with all that said, let’s dive into the review and see how this game stacks up!
Buy Dragon Age The Veilguard Here
Main Story 9/10
The main story? EXCELLENT. One of the best, if not THE best, of all Dragon Age games. HOWEVER, I can’t get over how companions just ruin the story. It doesn’t feel like the world is ending. Everyone is so quirky. It doesn’t help that the game basically makes the game about the companions after some point, and you are almost forced to solve their shit before moving on with what’s important—you know, killing the gods.
In Inquisition, it was always about stabilizing Thedas and killing Corypheus. Why? Because the death of Divine Justinia threw the world into chaos. The culprit? Corypheus. See the connection? In here, your companions are mostly random people not related to anything plot-wise. Let’s go back to Inquisition again. Cassandra? Hand of the Divine. Varric? Prisoner of Cassandra and friend of Hawke. Vivienne? Leader of the remaining loyal mages (that are at war). Solas? The God who gave Corypheus the means to kill Justinia.
Now let’s talk about what works in Veilguard’s main story. The lore and world-building? ON POINT. The writers clearly put in the work to expand Thedas in meaningful ways. The Veil itself takes center stage in the narrative, and holy shit, it’s incredible. The way they weave in the lore of ancient elven magic and the mystery behind the gods is top-tier. The story does a great job making you feel like you’re uncovering something massive about the history of the world.
The stakes are high—tearing down the Veil and the consequences for magic, spirits, and the living world are just the tip of the iceberg. ANDRASTE being revealed as a previous host of Mythal? That was a bombshell. It completely shatters what we thought we knew about the Chantry and the Maker, even though we already knew it was all a farce. Oh, and the Maker? Well, it’s Solas, technically speaking. The lore flips everything on its head.
Solas creating the Veil? Mind-blowing. It’s his greatest sin, and the fact that he did it to trap the Evanuris while also essentially damning the world? Absolute genius storytelling. But wait—it gets better (or worse, depending on your emotional stability). Solas also KILLED MYTHAL in the past. Let that sink in. The God of Betrayal betraying Mythal herself? The layers here are insane.
And let’s talk about the elves. THEY WERE ORIGINALLY SPIRITS. Yup. The ancient elves we thought we knew were far more tied to the Fade than we realized, and it changes everything about how we understand their connection to magic and immortality. Oh, and the Blight? It’s not some random curse or evil—it’s TITAN BLOOD. The ancient elves used it, and it’s basically corrupted their entire legacy. The dwarves? BORN FROM TITANS. This game pulls no punches when it comes to explaining the lore of Thedas in ways that are both epic and devastating.
But GODDAMN does the pacing hurt the story. Just when it gets going—when you’re in the middle of unraveling the fate of the ancient gods—you get side-tracked by nonsense. Why am I dealing with someone’s personal baggage when the literal fabric of reality is falling apart? It’s frustrating because when the game focuses on the main plot, it’s a masterpiece. Every scene tied to the gods and the Veil is dripping with tension and mystery.
Companions 4/10
From the beginning, you're tasked with building a team to defeat the Elven Gods. But instead of organically meeting companions through the story, you're stuck in your little lighthouse, with the game spoon-feeding you exactly what's going to happen next. I HATE how they hold your hand every step of the way. I DON'T WANNA KNOW I'M MEETING TAASH. HECK, I DON'T EVEN WANT TO MEET HER/THEM.
The companions' stories? Mostly bad. They tried to tie the companions to the main plot in the cringiest way possible. Basically, they failed a mission to kill one of the Elven Gods because "we all have our worries, and that prevents us from performing well." Worries like Taash dealing with gender issues, Emmrich being afraid of death and wanting to become a Lich, Lace Harding suddenly having superpowers that somehow bother her, and Lucanis worrying about the demon inside him and his family. Okay, that last one was actually good.
In Dragon Age: Inquisition, companion quests felt optional. You'd tackle them while solving shit all around Thedas, not like here, where you have to deal with the companions' personal stuff to progress the story. It's poorly delivered.
The game’s attempt at representation, while ambitious, is executed so poorly that it actively detracts from the narrative. The decision to introduce modern terms like "they/them" pronouns into a medieval setting feels completely out of place. It’s not just immersion-breaking; it’s lazy. After a decade of development, you’d think they could have created lore-friendly ways to represent non-binary identities instead of shoving modern ideologies into Thedas. Compare this to Dragon Age: Inquisition, where representation was handled with nuance. Characters like Dorian and his tragic history with his lover or Krem, the transgender Tevinter mercenary, were seamlessly integrated into the world’s lore. They felt natural and believable. Here? It’s as if the writers couldn’t be bothered to think beyond surface-level representation and cringeworthy dialogues.
To make things worse, this awkward attempt at modern representation undermines the broader narrative. The companions' issues are so ham-fistedly written that they fail to add depth or relatability. Instead of enriching the story, they make it feel like you’re babysitting a group of poorly written stereotypes instead of leading a legendary team to save the world.
Taash's side quests are a prime example of the game's disjointed storytelling. In "Fire on the Sands," you're tasked with feeding birds and solving trivial puzzles—hardly the epic dragon-hunting adventure you'd expect from a supposed dragon slayer. The follow-up, "Lair of the Dragon King," attempts to raise the stakes but falls flat with predictable plot twists and uninspired combat scenarios. Instead of delving into Taash's background or motivations, these quests feel like filler content, offering little to no character development.
Neve's side quests fare no better. In "A Clear Mind," you're dragged through Dock Town to confront Venatori cultists, a task that feels more like busywork than a meaningful narrative arc. The choices presented, such as whether Neve should protect Dock Town or bring it hope, are superficial and lack significant impact on the overall story. The writing fails to provide depth to Neve's character, making her personal struggles feel disconnected from everything.
You know who were the best companions? The Skeleton Manfred and The Griffon Assan. They actually get some character development. Manfred goes from a skeleton minion who can’t even follow orders to be able to do magic, and Assan goes from being a baby Griffon to saving his entire family and becoming an elite darkspawn fighter.
Writing & Delivery 2/10
There’s a stark difference between the story’s content and its execution. While the narrative has potential, the dialogue delivery is fucking horrendous. Instead of immersing you in a medieval fantasy, it feels like it was written by a bunch of kids. I lost track of how many times I rolled my eyes at Bellara’s “For sure!” or Taash’s “That’s messed up!”
Bombshells are dropped with no buildup—just blunt, cringy revelations. Taash’s out-of-nowhere “So, I’m non-binary and I’m gonna use they instead of she” is the worst offender, but almost every significant reveal is handled this way. And seriously, how many times do they need to say, “Dragons don’t have kings; they have queens”? Three times was overkill. If the story itself wasn’t decent, I would’ve bailed. Oh, and for fuck’s sake, use theme-appropriate language—this game isn’t set in 2024.
Then there’s the goddamn hand-holding. The game treats you like you’re incapable of figuring anything out. They repeat the names of the Elven Gods endlessly, and every action gets spelled out for you. Pull a lever, and your companions chime in with gems like, “Oh, it looks like it opened something below.” No shit, Sherlock—there’s literally one door in a tiny room. Let me figure it out myself for once.
The tone is downright childish. If I had to describe it in one word, it’d be “Disneyfied.” Everything’s so oversimplified and sanitized that any grit or seriousness is wiped clean. The constant need to explain everything like the player’s a clueless five-year-old ruins what could’ve been a much better experience.
Pacing is another nightmare. Dialogue scenes drag forever, often interrupted by jokes or pointless remarks that add nothing. This completely wrecks dramatic moments, making them feel shallow and tensionless. And forget about subtlety—every emotional or dramatic beat is over-explained, leaving no room for imagination. It’s like the game thinks you’re too dumb to get what’s happening without a neon sign pointing at it.
The delivery doesn’t help either. Some voice actors sound completely flat, while others are so cartoonishly over-the-top that it’s impossible to take anything seriously. The result is an inconsistent mess that flips between trying too hard and not trying hard enough.
The repetition is just the cherry on top of this frustrating package. Important lines are hammered into your head as if the writers thought you’d forget them after two seconds. And it’s not just plot points—phrases and reactions are repeated so often that they feel less like character quirks and more like lazy shortcuts. It’s exhausting.
Romance 4/10
Rook can romance anyone they like. Okay, that's cool, kinda. I think there should be more bisexual characters in DAI, with maybe one exclusively gay/lesbian. I mean, who didn’t want to date Sera in Inquisition? She was always my second option after Cassandra, but I had to make a female Inquisitor to date her.
The problem is that the romances in The Veilguard are awkward and, to be honest, don’t feel like you’re actually romancing anyone. Just like I mentioned in the writing portion, the character you’re trying to romance suddenly drops the bomb out of the blue. There’s no buildup. Nothing special you do for them. No indication that they might be into you. It’s pretty bad.
What makes it worse is how one-sided some of the romances feel. For example, pursuing Emmrich feels uncomfortable—like you’re pushing for something with someone who barely reciprocates. It’s less of a mutual relationship and more like you’re constantly coaxing them into it, which is just weird. And then there’s the whole mess with inconsistent outcomes. Depending on choices like saving Minrathous, you can unintentionally lock yourself out of certain romances, like with Lucanis. Why does a decision about the city impact who I can date? It feels random and frustrating.
Then there are moments with Taash and Lace Harding that go beyond awkward. Taash’s romantic arc includes a scene where she pins the player against a wall and sniffs them. Yes, that’s supposed to be romantic. But instead of feeling intimate or endearing, it comes off as bizarre and uncomfortable, especially with no prior lead-up to such a moment. Harding, on the other hand, suddenly blurts out that she wants to kiss the player out of nowhere. There’s no romantic tension, no development—just a random declaration that feels completely disconnected from the rest of the narrative. These interactions make the romances feel forced and unrealistic.
Here’s another thing. Whoever Rook doesn’t romance will eventually find a partner of their own. Is this Dragon Age or a dating sim? Not everyone needs a date. Companion stuff just gets cringier and cringier. Add to that the lack of tension or in-party drama around relationships—something the earlier games did well—and the romances here just feel bland and forgettable.
Combat 7/10
The combat? It’s different. A lot of people say it’s like God of War. I disagree, unless you’re playing warrior. No other class even resembles God of War’s combat, and even the warrior is just at the beginning. Once you get your specialization, it plays much differently. That being said, I loved the combat at the beginning. It’s dynamic, action-packed, and feels rewarding, especially when you’re learning how to chain abilities together using the combo system. The visual effects are another highlight—every spell and attack looks incredible, making combat a treat for the eyes.
There’s a good range of difficulty settings too, so whether you’re a casual player or looking for a hardcore challenge, the game has something for you. The boss fights are another standout. They’re intense, visually stunning, and require more thought than your average skirmish, making them some of the game’s most memorable moments.
However, as you progress, the combat starts to feel repetitive. Once you settle into your class and spec, there’s little tactic beyond doing detonations and spamming the same abilities over and over. Limited enemy variety doesn’t help, leading to monotony in longer sessions. If you’re playing mage, NPCs seem to prioritize you over your teammates, even if your party includes warriors who should be pulling aggro. Then again, it kind of makes sense—NO ONE IN YOUR TEAM CAN DIE.
Playing mage feels like a cheat code at times. The AoE from spells and the crazy buffs you can stack with your equipment make it ridiculously easy to wipe out enemies. I killed the final boss in about two minutes. It’s satisfying to be so overpowered, but it makes the challenge uneven compared to other classes.
What keeps things engaging early on is the customizable skill trees, which allow you to experiment with different builds for each class. Warriors control the battlefield, rogues specialize in quick, high-damage attacks, and mages unleash destructive AoE that can change the tide of battle. The combo system adds depth, letting you chain abilities with companions for devastating effects—when the AI doesn’t let you down. Unfortunately, companion AI can be inconsistent, often missing perfect opportunities to execute combos, which can be frustrating during tougher battles.
Environmental interactions add some strategy to fights. You can use traps or destroy objects to gain an edge, but these elements feel underutilized. The biggest letdown is the lack of tactical depth. With companions acting like invulnerable summons that don’t need healing or revival, much of the strategic charm from previous Dragon Age games is lost. For fans of tactical combat, this shift might feel like a step backward.
World Design 10/10
This section is going to be short. The world looks amazing. It’s like Inquisition on steroids. The level of detail in the environments is stunning, with diverse landscapes that make exploration an absolute joy. From dense forests and sprawling cities to haunting ruins, every area feels unique and meticulously crafted. The world-building here is top-tier, with environmental storytelling that enhances the lore and draws you deeper into the game’s narrative.
The artistic direction is incredible, showcasing a visual splendor that brings the game to life. Exploring the world is not only visually rewarding but also engaging, as the game frequently rewards you with useful loot and plot reveals for venturing off the beaten path. The maps feel more constrained than Inquisition, but in a good way—focusing on quality over quantity.
It’s a shame, though, that the character models look so out of place against such a beautifully designed world. They feel like an afterthought in comparison to the rich, immersive environments.
Exploration 8/10
I have mixed feelings about this. On one hand, exploration feels amazing even though it’s not an open world. The world design is bold and beautiful, with environments that are a joy to navigate. You can get lost, especially before discovering the beacons in places like the city of Treviso. The rich lore and environmental storytelling add depth, drawing you in as you uncover secrets and piece together the game’s backstory. The game rewards exploration with useful loot and impactful plot reveals, making it feel meaningful rather than just filler. The improved level design, focusing on quality over quantity, means areas feel well-crafted and purposeful rather than sprawling and empty.
The visuals during exploration are stunning, with intricate details and breathtaking landscapes that make every step rewarding. Side quests are thoughtfully integrated into the world, often providing a deeper understanding of the lore or offering significant rewards. Exploring isn’t just about running to the next objective; it’s about discovering hidden layers within the environment. From combat animations to world textures, the technical execution makes every corner of the map feel alive and immersive.
That said, the exploration does have its downsides. While the environments are incredible, the main areas can feel linear, restricting your sense of freedom. Exploration also suffers from repetitive environmental puzzles, which start to feel more like obstacles than engaging challenges. And once you’ve gone through an area, walking through the same space again begins to feel tedious. Unlike Inquisition, where simply traveling through the world was an experience in and of itself, here it sometimes feels like you’re just moving from one equipment chest to the next.
Still, when exploration works, it works well, blending meaningful rewards with a visually spectacular and lore-rich world that pulls you in.
Miscellaneous
Spoon Feeding: The game literally spoon feeds you how to solve the puzzles. It’s not enough that the puzzles are brainless, but your companions will be like “Hey, I wonder if there is something at the opposite side of the wall” (where you clearly have to go). Because it’s so fun to play a game where you’re just told where to go and what to do. Might as well watch a movie.
Lace Harding: I’m just gonna get straight to the point. Why hyperfocus on giving her magic allowing her to become the host for the ancient Titans if the game gives you the option to let her die at the end. Stupid.
Photo Mode: The inclusion of a robust photo mode allows players to capture and share stunning moments from the game, adding a layer of community engagement and creativity.
Unskippable Cutscenes: Some cutscenes are completely unskippable, which becomes incredibly annoying during replays or when retrying missions after a failure.
Accessibility Features: The game deserves credit for its over 55 accessibility options, ensuring players with various needs can enjoy the experience without barriers.
Repetitive Puzzles: Many environmental puzzles repeat themselves, quickly losing their novelty and feeling more like chores than challenges.
Diverse Character Creation: The character creation options are highly detailed, allowing players to choose from different races, classes, and backstories, adding depth to role-playing.
Lack of Mod Support: There’s no official support for mods, which is disappointing for players who enjoy customizing and expanding their games with community-driven content.
Overall Rating: 7/ 10
Dragon Age: The Veilguard is a mixed bag. As a standalone game, it offers moments of brilliance: the world design is breathtaking, the lore is rich, and the main story—when it isn’t bogged down by companion drama—delivers some of the best moments in the franchise. The focus on the Veil and its history, Solas’ monumental sins, and the jaw-dropping reveals about Thedas’ lore elevate it to a high point for story lovers.
However, as a Dragon Age sequel, it stumbles. The companions feel disconnected and poorly written, their quests often dragging down the pacing of the main story. Representation, while ambitious, feels clunky and immersion-breaking, as modern elements clash with the high-fantasy setting. The writing, overall, is inconsistent, leaning too often into juvenile tones or oversimplified dialogue that undermines the epic narrative.
Combat is enjoyable at first but quickly devolves into repetitive, button-mashing monotony, with limited enemy variety and tactical depth. While the customizable skill trees and combo system shine, the invincible companions and lack of strategic elements leave fans of classic RPG combat wanting more.
Exploration and world design stand out as the game’s strongest aspects. The attention to detail, stunning environments, and rewarding exploration make every new area feel alive. Unfortunately, this is offset by linear level design, repetitive puzzles, and the tedious nature of revisiting areas.
Miscellaneous features like accessibility options, photo mode, and character creation are thoughtful additions that make the game more inclusive and engaging. However, oversights like unskippable cutscenes and the lack of mod support hold it back from greatness.
Ultimately, The Veilguard excels in certain areas, but its missteps—particularly in writing, pacing, and companion integration—keep it from achieving the legendary status fans hoped for. It’s an okay Dragon Age game, a good standalone RPG, and a disappointing sequel. For fans, it’s a 7/10. Anything higher? That’s wishful thinking.
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