Yeah thatâs what I'd say is the âevilâ ending, though your point is correctâŠI liked that his endings are morally ambiguous either way you choose (unlike Shadowheart, whose endings are pretty clearly âgoodâ/âevilâ).
âWhy don't I strap on my strength helmet and squeeze down into a strength cannon and fire off into Strengthland where strength grows on strengthees???â
Long passant
I will say itâs a bit more complicated than thatâŠ
If you can stomach/embrace the evil it opens up some fun/interesting Act 3 stuff. The Durge arc and the âfull-send evilâ endings for Astarion and Shadynasty specifically were neat to see given how not-evil they can turn out in a âgoodâ playthrough.
I can highly recommend
Act 3 Durge spoiler
leaning into your urge the whole playthrough then denying Bhaal at the last second and killing the Netherbrain
for the true unhinged, depressing ending.
Make sure to select the âpiss yourselfâ option when the opportunity arises
All Star with The Sickness is, for me, the perfect mashup, to the point where I canât separate the songs now.
Honorable mention to any of the many Thomas the Tank Engine mashups (like this one, for example).
Very nice â thanks!
What book is this? Does it have more of these types of guides throughout?
Verily
Iâve also done 0 research, but I assume the name refers to the opening lines of a pretty famous poem, which is using âyeâ to address a group of people; basically the poem is saying âgo get some while youâre young and hotâ
Was deeply disappointed that he wasn't played by Dolph Lundgren in the show
Looks outstanding! Do you have a recipe??
First panel beautifully encapsulates Troiâs character
If you pretend the song is in g-minor (which has a B-flat) those chords make a lot more sense: Eb becomes the bVI chord (super common in minor-key songs), and Bb becomes the bIII (also pretty common â whatâs known as the relative major of g-minor). The Eb also serves the function of IV / bIII here â basically it just acts like a pivot between the original g key and its relative major (Bb); note that Eb is the bVI chord in the key of g minor, but also the IV chord in the key of Bb. D7 would be the V chord in G major or minor, so it doesnât sound especially out of place like the others do, and leads the progression nicely back to G.
The reason the middle two chords sound especially interesting here is that the song is not in g minor â instead of having that flatted third in the chord (i.e. Bb) it has the major third (B natural), which creates a neat half-step dissonance when played next to chords that do have it flatted (like Eb and Bb). G minor has its own chords separate from those of G major due to how a g minor scale is constructed; borrowing from a keyâs parallel major/minor can yield some really interesting chord progressions/sounds (such as the ones youâve found here).
My theory is a bit rusty, so hopefully that all is accurate and makes sense!
If only Perrin or Mat were around...
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