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** In a similar vein, trying to rescue characters from a fate that happens offscreen or via cutscene - for instance, saving Wyll from being turned into a devil by knocking him out before each long rest, or teleporting past Mayrina's brothers, then killing all the redcaps and disarming all the traps, causing the brothers to disappear but not get killed.

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** In a similar vein, trying to rescue characters from a scripted fate that happens offscreen or via cutscene - for instance, saving Wyll cutscene, by doing things like knocking them out, killing them and using revivify later, making them move using a conjured cat, or others methods that stop them from being turned into a devil by knocking him out before each long rest, or teleporting past Mayrina's brothers, then killing all present when the redcaps and disarming all the traps, causing the brothers game expects them to disappear but not get killed.be.
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** Similarly: Gale being pressured [[spoiler: by his own patron goddess into performing a HeroicSacrifice]]? Tragic. Gale gaining the option to [[spoiler: blow himself up]] at any point, for absolutely no reason or net gain, and actually going through with it? Hysterical.
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** While the companions are generally beloved and well realized, there's a frequent complaint about how out of 10 possible companions (barring hirelings who have no personality and are silent), 5 are some flavor of elf[[note]]two half-elves (Jaheira and Shadowheart), a wood elf (Halsin), a high elf (Astarion), and a drow (Minthara)[[/note]], and since half-elves and tieflings are also part human, this also makes 6 of them being some flavor of human[[note]]three humans (Gale, Wyll, and Minsc), two half-elves (Jaheira and Shadowheart), and a tiefling (Karlach)[[/note]]. Meanwhile dragonborn, dwarves, gnomes, half-orcs, and halflings have no representative companion. Put it another way, among all 10 companions, the only one with neither elven nor human origins is Lae'zel (a githyanki). Her and Karlach at least comes across as exotic as opposed to "human-looking with maybe pointy ears" that the rest of the cast has going.

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** While the companions are generally beloved and well realized, there's a frequent complaint about how out of 10 possible companions (barring hirelings who have no personality and are silent), 5 are some flavor of elf[[note]]two half-elves (Jaheira and Shadowheart), a wood elf (Halsin), a high elf (Astarion), and a drow (Minthara)[[/note]], and since half-elves and tieflings are also part human, this also makes 6 of them being some flavor of human[[note]]three humans (Gale, Wyll, and Minsc), two half-elves (Jaheira and Shadowheart), and a tiefling (Karlach)[[/note]]. Meanwhile dragonborn, dwarves, gnomes, half-orcs, and halflings have no representative companion. Put it another way, among all 10 companions, the only one with neither elven nor human origins is Lae'zel (a githyanki). Her She and Karlach at least comes come across as exotic as opposed to "human-looking with maybe pointy ears" that the rest of the cast has going.
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** Though the Dark Urge was well received as a playable character, there is a faction of players who really wish that he (by default a male Dragonborn) could have been a recruitable party member like every other origin character. The intro performance for the Dark Urge was well recieved acting wise leading some players to want more of that (since as the PC, the Dark Urge is mostly silent outside his gameplay lines), and being able to guide him as another character would have a lot of potential. Plus, some just wanted a romanceable dragonborn character. The only perceived downside would be that players would presumably lose the ability to customize the Dark Urge if he was in the same category as the rest of the origin characters.
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** At times, the interface makes it very easy to misclick and there is no way to undo misclicks. The most prominent example of this is in ranged combat. Especially later, you likely have multiple attacks with the same character and often want to fire them all at the same foe. The game does allow you to immediately fire another shot after the last. However, after every shot, the game's camera holds a moment, then briefly unncessarily snaps towards the opponent dodging/getting hit and back afterwards. This makes it very easy to fire on the ground next to them instead, or worse, accidentally run next to them into melee range.

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Mayrina genuinely thought Ethel would take care of her child and had become convinced she would be a terrible mother. Also, her using the rod to control her husband was because she wanted to find a way to "cure" him and there was no other way to get him to follow her, not because she wanted to enslave him.


* UnintentionallyUnsympathetic: Mayrina. While the game allows the player to call her out on her choice to listen to Ethel, who's revealed to be a hag, the game pushes the player to view her as an innocent woman deserving of sympathy, as most of the party save for the more "evil" aligned push for her safety, because she's emotionally devastated over the loss of her husband and discovering she's pregnant without any idea what to do. However, some players felt that her justification was hard to sympathize with, as her being willing to hand over her then unborn child to a hag is shortsighted and selfish, given she wants her husband back without care about her future child's well being, and without understanding the potential consequences of her deal. Even if the player points out the issues making a deal with a hag will bring, she gets angry and calls the party out for it, even if the player demonstrates what Ethel really was going to do as part of their deal (basically revive her husband as a zombie), instead demanding the rod to control her zombie husband, making her look more selfish as a result. While she later mellows out and apologies, even potentially freeing her husband once Ethel is truly defeated, some players still found it hard to view her sympathetically after how rude and selfish she comes across during Act 1.

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* UnintentionallyUnsympathetic: Mayrina. While the game allows the player to call her out on her choice to listen to Ethel, who's revealed to be a hag, the game pushes the player to view her as an innocent woman deserving of sympathy, as most of the party save for the more "evil" aligned push for her safety, because she's emotionally devastated over the loss of her husband and discovering discovered she's pregnant without any idea what to do. However, some players felt that her justification was hard struggled to sympathize with, as with her being willing deciding to hand over trust a [[ObviouslyEvil hag]], of all things, with her then unborn child to a hag is shortsighted and selfish, given she wants her husband back baby's future without care about her future child's well being, and without understanding considering the potential consequences of her deal. Even if deal, making her come off as a HorribleJudgeOfCharacter at best, and a selfish mother at worst. Compounding this is that, unless the player points is able to show her Ethel can't be trusted in easily-missed dialogue windows[[note]]Either by learning that Ethel planned to eat her baby to make another hag and pointing it out at the issues making a deal with a hag will bring, first opportunity, or by revealing in first meeting her that Ethel killed her brothers[[/note]] she gets angry and calls the party out for it, even if shows no gratitude to the player demonstrates what Ethel really was going to do as part of their deal (basically revive for her husband as a zombie), rescue, instead demanding the rod to control berating them for "ruining everything" and getting defensive when questioned about her zombie husband, making her look more selfish as a result. choices. While she later mellows out by Act III and apologies, even potentially freeing her husband once Ethel is truly defeated, some players still found it hard to view her sympathetically after how rude and selfish she properly apologizes, this often comes across during Act 1.too late to change some players' impression of her.
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* The College of Valor is generally considered the least effective Bard subclass. On paper, the Martial Weapons proficiency seems great, but Bards can already use almost all Finesse weapons anyway, and in practice those are the only weapons they'll bother using due to benefiting more overall from Dexterity than Strength. The only Finesse weapons they ''don't'' have innate proficiency in are Scimitars, which are also granted to the much more powerful College of Swords. Meanwhile, Combat Inspiration has its uses, but is generally outclassed by Lore's additional Magical Secrets slot and Swords' Blade Flourish abilities.

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* ** The College of Valor is generally considered the least effective Bard subclass. On paper, the Martial Weapons proficiency seems great, but Bards can already use almost all Finesse weapons anyway, and in practice those are the only weapons they'll bother using due to benefiting more overall from Dexterity than Strength. The only Finesse weapons they ''don't'' have innate proficiency in are Scimitars, which are also granted to the much more powerful College of Swords. Meanwhile, Combat Inspiration has its uses, but is generally outclassed by Lore's additional Magical Secrets slot and Swords' Blade Flourish abilities.
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* The College of Valor is generally considered the least effective Bard subclass. On paper, the Martial Weapons proficiency seems great, but Bards can already use almost all Finesse weapons anyway, and in practice those are the only weapons they'll bother using due to benefiting more overall from Dexterity than Strength. The only Finesse weapons they ''don't'' have innate proficiency in are Scimitars, which are also granted to the much more powerful College of Swords. Meanwhile, Combat Inspiration has its uses, but is generally outclassed by Lore's additional Magical Secrets slot and Swords' Blade Flourish abilities.

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* {{Narm}}: The game's facial animations are fairly detailed and help sell many of the emotional scenes a player can experience, but for some reason your party members expressions change in conversations they are present for, but not actively part of, meaning you can have emotional scenes be made unintentionally comical because one of your party members is in the background making over the top expressions despite not being focused on.

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* {{Narm}}: {{Narm}}:
**
The game's facial animations are fairly detailed and help sell many of the emotional scenes a player can experience, but for some reason your party members expressions change in conversations they are present for, but not actively part of, meaning you can have emotional scenes be made unintentionally comical because one of your party members is in the background making over the top expressions despite not being focused on.on.
** For some, the fact that the party members initiate the romance can come off this way - the characters will tell you [[ContinueYourMissionDammit not to dally too much]], yet can suddenly start hitting on you (Lae'zel is in particular prone to this) moments later, making them feel like they have some really SkewedPriorities.
** Party member conversations can trigger at very odd times - oftentimes related to romance. This can end up with some hilarious times like a character confessing a big secret after you just fought for your lives or while you're CoveredInGrunge.
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** Gale has been dubbed "The Rizzard of Waterdeep" or just "the Rizzard", generally in reference to his tendency to be ''so'' EndearinglyDorky that it loops around to being incredibly charismatic.
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** When elaborating on his backstory, [[spoiler: the Emperor mentions that he sustained himself primarily on criminals.]] In the epilogue, [[spoiler:Mind Flayer Karlach will talk about how the memories and experiences of every brain she eats become a part of her. Is it possible that the Emperor wasn't always so cold and manipulative, but was slowly warped by the bad experiences of the brains he ate? His letter to Ansur suggests that he still had some level of compassion, or at least pity, some time after his transformation; something that appears to be lacking when the party meets him.]]
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After discussing this on the discussions tab, it was decided, as of now, this could be readded with adjustments. If there are any issues, head to discussions to weigh in on it.

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* AssPull: [[spoiler:The Emperor siding with the Netherbrain]] in Act 3. If the player chooses to free [[spoiler:Orpheus]], the [[spoiler:Emperor]] declares it has "no choice" but to side with the [[spoiler:Netherbrain]] and departs immediately. While the game makes it clear that [[spoiler:the Emperor]] will do whatever it takes to survive and warns the player of the consequences for [[spoiler:freeing Orpheus]], [[spoiler:him siding with the Netherbrain]] has been criticized for not being telegraphed or foreshadowed to the player, not helped by the game not allowing the player to question [[spoiler:the Emperor]] about why they would do so. Some players also feel it runs contrary to its established characterization as someone valuing freedom away from the [[spoiler:Netherbrain]], given how everything else it does is specifically trying to stop the [[spoiler:Netherbrain]] at all costs. While the [[spoiler:Netherbrain says everything about the Emperor]] was AllAccordingToPlan, the [[spoiler:Emperor]] siding with the [[spoiler:Netherbrain]] is never referenced or commented on by it, which doesn't help either.
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See the discussion tab for review of the Ass Pull entry since it was removed without discussion.
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I'm sorry but this trope requires there to be no foreshadowing or setup for the twist at all, and that's simply not true. The Emperor makes very clear beforehand that it would view freeing Orpheus as a betrayal and becomes notably agitated anytime you take actions toward that goal (such as going into hell to get the hammer). It knows that if you have Orpheus on your side, you no longer need it to use his powers to protect you, and that furthermore Orpheus not only has his own prejudices but also very strong personal reasons to want the Emperor dead. Whether or not it's a wise tactical decision for its own survival to side with the Netherbrain is a different debate; the game still foreshadows several times that freeing Orpheus means losing the Emperor as an ally.


* AssPull: [[spoiler:The Emperor siding with the Netherbrain]] in Act 3. If the player choses to free [[spoiler:Orpheus over siding with the Emperor]], the [[spoiler:Emperor]] suddenly declares it has "no choice" but to side with the [[spoiler:Netherbrain]] because of your choice, becoming a boss to fight during the finale. Not only does it run contrary to its established characterization as someone valuing freedom away from the [[spoiler:Netherbrain]], but it comes out of nowhere without any hinting that it might do so if you don't side with it, given how everything else it does is specifically trying to stop the [[spoiler:Netherbrain]] at all costs. While the [[spoiler:Netherbrain says everything about the Emperor]] was AllAccordingToPlan, the [[spoiler:Emperor]] siding with the [[spoiler:Netherbrain]] is never referenced or commented on by it, making it feel even more like it comes out of no where. Even when accounting for the [[spoiler:Emperor]] making a cold calculation about its own survival, most players find that the switch is too sudden and not setup properly to work, especially because it happens even if the player supports [[spoiler: the Emperor]] in every choice ''except'' for that.
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** Players can select their character's voice out of several options when creating them, but they're all very similarly posh English accents saying the exact same lines with slightly different enunciation, not necessarily fitting for the vast amount of character options the game gives you (i.e. gruff dwarves, savage orc barbarians, or street-smart urchins). This has led to confusion on the one hand why not just to have one male and one female voice, if they're all going to be that similar anyway, and on the other hand, to players wishing for more variety in tone/accent/lines. This feature had also already been present in many older D&D games, including the previous ''Baldur's Gate'' titles.

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** Players can select their character's voice out of several options when creating them, but they're all very similarly similar posh English accents saying the exact same lines with slightly different enunciation, not necessarily fitting for the vast amount of character options the game gives you (i.e. gruff dwarves, savage orc barbarians, or street-smart urchins). This has led to confusion on the one hand why not just to have one male and one female voice, if they're all going to be that similar anyway, and on the other hand, to players wishing for more variety in tone/accent/lines. This feature Adding to the confusion is the fact that some measure of voice variety had also already been present a mainstay in many older earlier D&D games, including the previous ''Baldur's Gate'' titles.
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** Players can select their character's voice out of several options when creating them, but they're all very similarly posh English accents saying the exact same lines with slightly different enunciation, not necessarily fitting for the vast amount of character options the game gives you (i.e. gruff dwarves, savage orc barbarians, or street-smart urchins). This has led to confusion on the one hand why not just to have one male and one female voice, if they're all going to be that similar anyway, and on the other hand, to players wishing for more variety in tone/accent/lines. This feature had also already been present in many older D&D games, including the previous ''Baldur's Gate'' titles.
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* HilariousInHindsight: When the player comes across a book of necromancy in Act 1, they either have the option to destroy it, or give it to Astarion in the hopes he can learn how to summon the undead with it. Neil Newbon would later reunite with D&D to play the infamous lich Vecna in [[https://youtu.be/FKhNYe44u_Q?si=5owLP_z0WAhi3BAk this trailer for the ''Vecna: Eve of Ruin'' adventure]]. ''Oops.''

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* HilariousInHindsight: When the player comes across a book of necromancy in Act 1, they either have the option to destroy it, or give it to Astarion in the hopes he can learn how to summon the undead with it. His voice actor, Neil Newbon Newbon, would later reunite with D&D to play the infamous lich Vecna in [[https://youtu.be/FKhNYe44u_Q?si=5owLP_z0WAhi3BAk this trailer for the ''Vecna: Eve of Ruin'' adventure]]. ''Oops.Liches are known for their ability to summon the undead. ''Whoops.''
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* HilariousInHindsight: When the player comes across a book of necromancy in Act 1, they either have the option to destroy it, or give it to Astarion in the hopes he can learn how to summon the undead with it. Neil Newbon would later reunite with D&D to play the infamous lich Vecna in [[{{https://youtu.be/FKhNYe44u_Q?si=5owLP_z0WAhi3BAk}} this trailer for the ''Vecna: Eve of Ruin'' adventure]]. ''Oops.''

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* HilariousInHindsight: When the player comes across a book of necromancy in Act 1, they either have the option to destroy it, or give it to Astarion in the hopes he can learn how to summon the undead with it. Neil Newbon would later reunite with D&D to play the infamous lich Vecna in [[{{https://youtu.be/FKhNYe44u_Q?si=5owLP_z0WAhi3BAk}} [[https://youtu.be/FKhNYe44u_Q?si=5owLP_z0WAhi3BAk this trailer for the ''Vecna: Eve of Ruin'' adventure]]. ''Oops.''
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* HilariousInHindsight: When the player comes across a book of necromancy in Act 1, they either have the option to destroy it, or give it to Astarion in the hopes he can learn how to summon the undead with it. Neil Newbon would later reunite with D&D to play the infamous lich Vecna in [[{{https://youtu.be/FKhNYe44u_Q?si=5owLP_z0WAhi3BAk}} this trailer for the ''Vecna: Eve of Ruin'' adventure]]. ''Oops.''

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