The gaming community has once again proven its ability to turn any exciting new release into a cesspool of outrage and entitlement. This time, the target of the collective tantrum is Dragon Age: The Veilguard, the latest installment in Bioware’s beloved RPG franchise. Although the game has already been released to generally favorable critical reviews, gamers have descended into a predictable cycle of toxicity, dragging the discussion into the gutter.
On Metacritic, The Veilguard boasts a solid critic score of 82, reflecting its strong storytelling, engaging mechanics, and polished design. However, that achievement has been overshadowed by a user review bombing campaign, tanking the user score to a dismal 3.8 at the time of writing. This divide between critics and so-called “fans” (Fucking idiots who haven’t even played it) exemplifies how a vocal subset of the gaming community continues to sabotage its own reputation while demanding the impossible from developers.
Let’s take a closer look at the reasons behind this latest meltdown, and how the reaction to The Veilguard illustrates the persistent issues within gaming culture.
Review Bombing: The Playground of Petulance
The backlash against The Veilguard is most clearly visible in its Metacritic user reviews, where a flood of zero-score ratings bemoans the game’s “woke agenda” and “departure from tradition.” Never mind that Dragon Age has always been an inclusive and progressive series; these gamers are treating the latest installment as though it personally offended them by daring to embrace diversity.
This is not the first time a game has been targeted by review bombing. In recent years, this tactic has become a favored weapon for disgruntled players, particularly those upset about inclusivity, perceived political messaging, or even unrelated grievances like the personal lives of developers. It’s performative outrage disguised as critique, with no intention of fostering dialogue or offering constructive feedback, instead it’s words spewed on a page by fucking virgin neanderthals who don’t know what fresh air or bodywash smells like.
Metacritic has acknowledged this phenomenon and pledged to moderate reviews more effectively, but the damage is already done. The artificially deflated user score paints a distorted picture of the game’s quality, drowning out genuine feedback from players who have actually engaged with the content, proving once more that Metacritic simply doesn’t give a shit.
Gamers Forget Dragon Age Has Always Been Gay as Hell
One of the most baffling aspects of the outrage surrounding The Veilguard is the claim that the game is pandering to “modern trends” or “forcing diversity.” This argument is not only lazy but completely ahistorical when it comes to Dragon Age. Let’s be clear: this franchise has always been gay as hell. It’s practically a cornerstone of its identity.
Since Dragon Age: Origins, Bioware has championed queer representation in its games. Players have had the freedom to romance characters of all genders, explore deeply personal stories about identity, and witness narratives that challenge traditional notions of power, race, and belonging. From Zevran’s playful flirtations to Dorian’s unapologetically queer storyline in Inquisition, Dragon Age has consistently celebrated diversity.
The Veilguard continues this tradition, offering players a rich tapestry of characters who reflect the real world’s diversity and complexity. Yet, somehow, every new Dragon Age game is treated like it invented the concept of inclusivity to “cater to the woke crowd.” This willful ignorance highlights the disconnect between the loudest complainers and the core values of the franchise they claim to love – and yet have clearly never played.
Critic Reviews vs. Gamer Entitlement
Critics have praised The Veilguard for its storytelling, world-building, and innovation within the franchise’s established framework. The game’s exploration of the Fade and the Veil brings fresh perspectives to longstanding lore, while its updated mechanics modernise gameplay without losing the heart of what has always made Dragon Age special.
However, these nuanced critiques are drowned out by gamers who seem determined to hate the game before even playing it. The entitlement is staggering. Complaints range from “it doesn’t feel like Origins” to “the art style is too polished,” as if any deviation from their personal preferences is a mortal sin. Never mind that Bioware has spent years developing this game under immense scrutiny; these players won’t be satisfied unless the studio delivers exactly what they’ve imagined — and even then, they’d find something to nitpick.
This gap between critical reception and user outrage underscores a troubling trend: the inability of some gamers to engage with art on its own terms. Instead of appreciating what The Veilguard brings to the table, they punish it for not conforming to their narrow, idiotic expectations.
The Misguided War on Inclusivity
A significant portion of the outrage surrounding The Veilguard stems from its commitment to inclusivity. Gamers have accused the game of prioritising diversity over quality, as if the two are mutually exclusive. These criticisms often include the tired buzzwords of “woke agenda”, “woke propaganda” and “forced diversity,” masking their discomfort with progress behind a thin veneer of concern for storytelling.
What these complaints ignore is that Dragon Age has always been a franchise that thrives on inclusivity. It’s a series that challenges traditional RPG tropes, offering players a chance to step into the shoes of characters who break the mold. Diversity isn’t a gimmick in The Veilguard — it’s part of the franchise’s DNA.
The backlash against inclusivity isn’t just unfounded; it’s actively harmful. It fosters a hostile environment for developers and fans alike, discouraging meaningful representation in games. This toxic response also alienates new players who might be drawn to Dragon Age precisely because of its openness and inclusivity.
Boring Boycotts and Bad Faith
As with any gaming controversy, calls for boycotts have inevitably followed. Gamers on social media are urging others to avoid The Veilguard, claiming that it’s the only way to “send a message” to Bioware. Of course, this is less about principles and more about performative outrage. These same players will likely purchase the game anyway, whether on sale or begrudgingly through FOMO.
The hypocrisy of these boycotts is staggering. Many of the same gamers decrying Bioware’s supposed “corporate greed” have no problem spending hundreds of dollars on microtransactions in other games. Their selective outrage reveals that the issue isn’t the game itself but a desire to assert power over developers and the community.
A Tale of Two Platforms: Metacritic vs. Steam
Interestingly, the reaction to The Veilguard differs significantly depending on where you look. On the outdated and idiotic Metacritic platform, where anyone can leave a review without verifying they’ve played the game, the user score is abysmally low. In contrast, platforms like Steam — which require users to own and play the game before reviewing — show a much more positive reception, with a “Mostly Positive” rating.
This disparity suggests that the loudest detractors aren’t engaging with the game at all. Their criticisms are reactionary, fueled by prejudice, hate and groupthink rather than genuine experience. Meanwhile, those who have actually played The Veilguard are more likely to appreciate its merits, even if they have constructive feedback to offer.
Why This Matters
The reaction to The Veilguard isn’t just an isolated incident; it’s part of a broader pattern of toxicity within gaming culture. This hostility has real consequences. It discourages developers from taking creative risks, drives talented individuals out of the industry, and makes the gaming community less welcoming for new players.
For Dragon Age specifically, this toxic cycle is particularly tragic. The series thrives on its ability to push boundaries, tell inclusive stories, and engage players in meaningful ways. The backlash against The Veilguard undermines all of that, reducing a rich and nuanced game to a battleground for petty grievances.
Conclusion: Maybe It’s Time to Touch Grass, alternatively – Just shut the fuck up.
At the heart of the outrage over Dragon Age: The Veilguard is a refusal to just fucking grow up. Gamers want to cling to a static, idealised version of the franchise, rejecting any evolution or progress. They mask their discomfort with change behind complaints about lore, mechanics, and diversity, but the underlying issue is their inability to engage with art in a mature way.
It’s time for the gaming community to confront its toxicity. Instead of tearing down every new release, gamers should embrace the medium’s potential for growth, experimentation, and inclusivity. Until then, the cycle of outrage will continue, and the community’s reputation will remain tarnished.
Dragon Age: The Veilguard deserves better. So does gaming. Grow up.