#I also think it is interesting how the Blade of Frontiers identity was like a rope for Wyll to hold on

[ariavar]

lol yeah, it is just that Shirou is basically the poster child of "Maybe this whole martyr hero complex is not good for you?", so my mind clicked with the connection.

I kind of wish they had taken some pages out of Shirou's routes in Fate Stay Night for Wyll's arc? Like a bit more exploration of Wyll's brand of heroism and how much it relies on self-destruction (not just in terms of bodily harm, but also on the fact that his "fate" as the Duke's son also got squashed... and how long it would have taken Mizora to lead him into destroying his own heroic ideals? Considering the trick she was pulling with Karlach)... like, I think the path of the Blade of Frontiers (pre-game) was set to have a pretty grim ending.

Or playing a bit more with Wyll's development in either rejecting this extreme selflessness and being critical of his father's lessons, or embracing them "for the greater good".

so we all know that one of wylls biggest flaws is his selflessness to the point of danger, but i kinda wanna talk about his weird, like, feeling of duty to suffer? its not masochism, hes not having fun. but theres almost a sort of... i wanna say autonomy? to get from believing that theres meaning in it all. hes not stupid about his own wellbeing. he knows what hes doing to himself. but theres this hint of "its inherently noble for me to choose to suffer" which i guess makes sense if he wants to not go crazy over the whole "i dont regret my pact" thing. i get the feeling he was told shit "builds character" a lot as a kid. i bet mizora is a bit easier to swallow if you think her "pain for the sake of pain" shit inherently makes you stronger

its 2 AM so i dont have a conclusion yet. hoping this makes sense?

[barbatusart]

bit of thinking outloud but for my current tactician run im doing a special wyll origins playthrough im calling the Evil Wyll Run & it’s given me a lot of food for thought about his character (or at least the freedom of psychological movement + exploration afforded to an origin run!)

wyll spoilers abound we’re entering the wyllenium here

wyll always felt a bit underwritten to me - i know that’s partially because there was that big kerfuffle in the 11th hour with changing his whole story and personality on top of having to recast his VA, and frankly hats off to both original VA lanre malaolu & new VA theo solomon for their hard work - both brought tremendous performances, & i sincerely hope mr malaolu was paid well for his work & time even if his voice wasn’t used in the final cut (i would also say warlock as a class itself felt a bit underdeveloped but im 100% OK with chalking that up to me the player not understanding how to play warlock effectively yet lol im more of a fighter barbarian Hit Stuff guy)

but honestly this feeling of being “underwritten” combined with a character with a long history of heroism in his pocket made wyll really interesting to me even in my tav playthrough. for all his accomplishments he still feels like a blank everyman, or like he’s someone who fully believes he’s the main character who doesn’t “need” to do any extra work on himself - and honestly he feels Very much like he could be The Main Character. once his backstory of the son of the duke was revealed too i immediately got the sense of like, rich boy trying to prove his worth beyond his wealth and status by striking out & becoming that hero, or that Prince Charming. basically that perfect happily ever after somebody. and im of the opinion that you don’t get mixed up with a cambion in the first place unless you’re either the kind of naïve “everything will just work out” immature that tends to comes with his status as the son of a noble, or you’re hungering for power. depending on playstyle he’s very easily both of these things

on the naïve front (ie a good wyll playthrough) if anything he feels very believably immature, & from that perspective the events of the game feel as though they’re the prequel to the actual start of wyll's story where he finally finds himself & learns what kind of man he really is. we just dont get to see it alas, but i really enjoyed the thought exercise of somebody still grappling with overcoming his own immaturity. he feels like someone who can still grow and that his tale is just beginning

Evil Wyll (meaning any time mizora shows up he drops everything to enact her instruction & hasnt once tried to find a loophole out of his contract) which ive come to be far more fascinated by is someone clearly vying for power, which is interesting because his noble status would’ve given him all the power he wants had he Played Nice. to me it speaks of someone who wants to be able to take what he wants from life without it being handed to him, which contrasts in a really fascinating way with entering into a warlock pact at all. maybe he thought it was better that it be a decision he made as opposed to nobility given to him by his family ties, maybe there’s still that pollyanna sentiment of “it’ll just work out & ill live happily ever after.” again maybe both. maybe in a sense the fiend, as he calls himself, is a good excuse to shuck off any poor decision he makes or any genuinely heinous thing he does under mizora’s instruction - an identity he uses as power fantasy (and very much in tandem/interchangeable with the blade of frontiers power fantasy) until it means taking ownership for any of his misdeeds, and then a scapegoat.

may be a bit incoherent but im only now hitting act 3 in my origin run & im Really enjoying this difficult characterization ive cooked up for myself lol

[synergysilhouette]

My "Baldur's Gate 3" MC

Just thought I'd start doing MCs after I posted mine about my Hogwarts Legacy MC--though here there are certain details that depend on the route my character is on.

Name: Caspian Sunrest

Age: Mid 20s to early 30s

Gender/Sexual Identity: Bisexual-biromantic (male-leaning) cisgender male

Race: Human

Class: Sorcerer (Draconic Bloodline)

Face: Head 2; No lines

Body: Body type 4's build with body type 2's height--plus he's much more caked up--and NO body hair

Voice: Voice 1 (I think that's the one; I can't recall who plays that voice)

Skintone: Cool Tone 12

Hair: Black neutral (partial eclipse hairstyle), no highlights

Eyes: Teal

Alignment/Personality: Lawful Neutral or Neutral Good (Haven't really decided). Usually just knocks out his enemies, but major opponents he does kill, even if he is mixed about it.

(Note: Probably lawful neutral or true neutral in route 3.)

Default Outfit: Potent Robe variant, albeit with tighter sleeves (seen here) and an emerald color; also wears Dragonborn underwear

Dream Guardian: Drow

Route-related Details

Route 1

Background: Noble; raised in the upper echelons of society with four older siblings, he has never lacked for anything, though despite his education, he's lived a sheltered life and can be quite naive. Caspian is averse to killing, often trying to knock opponents out, but will kill when the need calls for it. He often tries the diplomatic approach and sympathizes with others, but thankfully he has an instinct for detecting danger that levels out his naivete.

Love interest: Wyll (human; assume this is in the pre-patch world where we can kill Karlach, resurrect her, and Wyll still gets rewarded. He also wears the Infernal Robe as his default look). Caspian views Wyll as his fairy tale prince, and their shared time dancing, talking, and romantic outings only strengthen his dreams.

Epilogue: Doing the "Blade of Frontiers" route, it's noted that Wyll takes his love's feelings into account and says that someday he would become Grand Duke, but for now the duo are protecting the coast. Along with Lily (taking her from Wyll's GD route), the couple have two more children named Arcturus and Narcissa (biological; not sure how I'd explain it, whether magic or mpreg, but take your pic).

(Note: any route where Caspian doesn't romance Wyll means Wyll is romanced by Karlach. Personal headcanon.)

Route 2

Background: Acolyte, raised as a follower of Bahamut and Lathander, he is a gentle soul that tries to knock out his enemies, but when he cannot, he strives to defeat them as quickly as possible so as to not prolong their suffering.

Love interest: Gale (human; Caspian talked him out of becoming a god, though he makes sure Gale feels like one every day; also wears a purple version of the airy wizard robes from BFOE and he's got no body hair out of personal preference, though the ebard can stay). Caspian's father discourages his romance with Gale when it is made clear that he is currently out of Mystra's favor and does not want to anger a goddess when it's clear that Gale has great ambition, but Caspian falls very quickly for him and seeks to mollify him without Gale ascending to godhood.

Epilogue: Having convinced Gale not to blow himself up, to be humble and return the crown to Mystra, Caspian married him and moved to Waterdeep together with Tara. While Gale becomes a professor at Blackstaff, Caspian continues his duties as an acolyte, renewing himself with divine spirit. While he convinced Gale not to go the route of godhood, Caspian makes sure to make him feel like one every day. There's only one little obstacle in their relationship: while Gale never saw himself as father material, Caspian always wanted a family.

(Note: if they did have a biological family that wasn't the result of magic or mpreg, Caspian would ask Aylin or Isobel to be the surrogate. How they respond is up to the imagination.)

Route 3 (Note: kinda thinking of remaking this because I love the "innocent cinnamon roll falls in love with the mature seducer" trope)

Background: Noble; raised essentially as a mean's to an end, his parents had a love for him that was improperly shown. As he grew to be intelligent, and handsome, he was raised to use such attirbutes for political advantage. However, despite the rather cruel lessons he was taught (a result of "unorthodox" parenting, as he called it), he still had compassion for others, but wasn't a bleeding heart. He knew to smile and make one feel welcome, for it was better to have more enemies and less friends.

Love interest: Astarion (wears the death mage variant from the BFOE); seen as the "good version" of the vampire, Caspian had an elegance and wit akin to the vampire, but wasn't quite as pessimistic. Unbeknownst to either of them, Astarion originally was tasked with seducing Caspian and bringing him to Cazador, but circumstances prevented the transaction from happening. When finally forming a team, Astarion initiates a physical relationship, but is surprised how quickly Caspian's walls came down. He finds that Caspian, despite his own share of trauma, hasn't lost his light, and Astarion becomes rather protective of him as a result, wanting him to have the happiness that Astarion had taken from him. However, this didn't always come out the best way, with Astarion bemoaning Caspian's sympathetic moments and frustrated when Caspian seduces others (recalling his own past), but while they fight, they've always come back together, especially in the end. When Astarion tells Caspian that he loves him, their relationship becomes the most stable it had ever been. (And just to note: I'm going the monogamous route here, so let's imagine Astarion is easily jealous and possessive.)

Epilogue: Having convinced him not to go through with the rite, Caspian and Astarion lead the spawn to the Underdark where they spend their time. Caspian proposed to Astarion, who pretended to need convincing, until happily accepting and they married in the dark at Baldur's Gate so their friends wouldn't have to go through the hassle of traveling to the Underdark. Of course, Caspian's dreams of starting a family may be a bit too early for his newly-freed vampire husband.

Route 4

Background: Entertainer; an orphan after his parents were murdered, Caspian lived his life making music, performing at circuses, and trying to use his dragon ancestry as a means to get himself a job. Many rumors have circulated that he has some siren ancestry due to how mesmerizing his voice is, and it's been noted that in times of great stress, blues scales barely appear over his face. (Note: wears the Songstress Shar outfit when performing after obtaining it.)

Love interest: Halsin (usually wears Armor of the Sporekeeper, Unwanted Masterwork Scalemail, or Yuan-Ti Scale Mail). Caspian is immediately drawn to Halsin's protectiveness and wisdom, and is surprised to find out he had was not averse to romantic and sexual attraction. They often stayed up each night talking about life and beguiling each other with stories about themselves of stories that they'd read. Sometimes Halsin would tell him stories until he fell asleep, or Caspian would play a song to help Halsin sleep.

Epilogue: The two don't go their separate ways and Caspian joins Halsin in rebuilding the shadow-cursed lands. Caspian adores having so many children to look after, as well as using his skills to entertain them (and Halsin). He treats Thaniel like the brother he always wanted, and often pulls Halsin aside to tell him that he couldn't be happier.

As usual with my posts, I may edit this later! Especially my name. Lemme know if you have any questions.

Update: started playing as a drow, so I may add him to this. Just know he stole Karlach's outfit, but it looks newer, with a sleek black look rather than being faded or dirty.

[caveartfair]

This Nonprofit Is Willing to Bet That Art Can Change the World

2017 ABOG Fellows (clockwise, from top left): Freeman Word. Photo: Jennifer Korman Photography; Aviva Rahmani. Photo: Joe Gaffney; Ashley Sparks. Photo: Courtesy the artist; Rick Lowe. Photo: John D. & Catherine T. MacArthur Foundation; Ronny Quevedo. Photo: Argenis Apolinario; Stephanie Dinkins. Photo: Courtesy the artist; Hello Velocity. Photo: Courtesy the artists; Jackie Sumell. Photo: Courtesy the artist; Courtesy of A Blade of Grass.

“The artists we’re working with are interested in actively engaging with structures that impact people,” says Deborah Fisher, the executive director of the non-profit A Blade of Grass (ABOG). That’s a fairly concise way to describe much of the work generated by the group’s fellowship program, which has, since 2013, awarded a total of $580,000 in stipends to artists like Dread Scott, Simone Leigh, and Rulan Tangen.

These artists don’t simply critique power from a distance or within the safety of a museum’s walls—they engage with institutional structures out in the world. That makes the financial support of ABOG even more vital: Socially engaged art comes with its own logistical, financial, and conceptual difficulties. While there is a growing infrastructure to bolster this type of work, the support network is still relatively small; a little money can go a long way.  

On Tuesday, ABOG will announce its 2017 class of fellows—solo artists and one collective—chosen from a pool of hundreds of applicants. Each will receive a $20,000 stipend along with additional support for their projects (access to a network of fellows, for example). Proposals include everything from incubating sustainable immigrant-run businesses in Athens as part of Documenta 14 (Rick Lowe) to a “musical car race” that explores identity through performances in small Southern towns (Ashley Sparks).

Dancing Earth community artists in performance installation at Hunter Arts and Agriculture Center in Española, courtesy of Moving Arts Española, NM. Photo by Paulo T Photography. Courtesy of A Blade of Grass.

Among the 2017 winners is Freeman Word, who plans to use the funds to develop the Zakatu Madrasa, a community space that will be sited in a to-be-determined location in St. Louis’s North Side. Not linked to any single religion, his madrasa is an educational space, with a library and the opportunity for intergenerational mentorship within the community, with younger members creating and exhibiting artwork in the space (and being paid for their efforts).

Beyond the ABOG award money, the madrasa will depend on book sales and financial pledges from community members. “People will only continue to pay for what they believe is providing valuable service or output to the community,” he says. Word has already received the additional necessary commitments to ensure funding—an important achievement given a concern with socially engaged art is that the projects can leave participants in the lurch if the seed grant dries up.

Word drew inspiration from, among others, W.E.B. Du Bois, Carter G. Woodson, and scholar Jessica Gordon Nembhard, whose book Collective Courage charts the history of African-American economic cooperatives, like mutual aid societies, back through slavery. “There’s a very real tradition I’m borrowing from,” Word says. “It’s not innovation, even if it feels like innovation.”

The past and present fellows I spoke to made it clear that socially engaged art is something of a misnomer; it ignores the simple fact that in in most communities, art is always “created for someone other than yourself,” as artist Rulan Tangen puts it. (An ABOG fellow in 2016, Tangen used her grant for a project titled seeds:ReGeneration, which explored indigenous artistic practices in community gatherings, and culminated in a harvest ritual.)

ABOG stresses accountability and visibility—collaborating with artists to create videos and written materials that describe and document their work. While the organization stresses letting artists lead, the goal is to measure and quantify the success of the projects: Part of the criteria is that the artists are working with communities and stakeholders. ABOG engages in field research, working with the artist to find a third party (a professor, another artist) versed in any given subject area who can document events, speak with local residents, and report on how the fellowship is engaging its target audience.

Grassroots engagement is the hallmark of ABOG endeavours. For Higher Sales, Ronny Quevedo is working in the South Bronx with La Morada, what one might call a socially engaged restaurant (it features activist artworks and a lending library). A group of local teenagers will participate in a 12-week workshop to create a signage for La Morada, dissecting the neighborhood’s history as well as the pressures it currently faces.

The project, Quevedo says, is consciously informed by artists like Jenny Holzer, as well as the wheatpaste-postering efforts of past artist-activist groups. It’s also a refreshingly nuanced way of engaging with the Bronx itself, highlighting the long-standing creative talent that has always existed in a place the art world can often still think of as a “frontier” awaiting artwashing (see Lucien Smith’s maligned “Piano District” branding event, for one example).

Ronny Quevedo, Higher Sails sign for Sergio Grajeda Mechanic, Albuquerque, NM, 2015, digital print in dibond. Photo courtesy of the artist. Courtesy of A Blade of Grass.

Also among the 2017 fellows is Aviva Rahmani, who argues that many entrenched political issues can be addressed with artistic thinking and a focus on human relationships. “It’s a question of how you look at systems so that you’re taking the skills from conceptual art and social sculpture and applying them to a problem,” Rahmani says.

Her installation and performance work Blued Trees Symphony, which began in 2015, blends artistic and legal structures. She has painted trees along pipeline routes, in the hopes of using the Visual Artist Rights Act and copyright law to halt or disrupt the construction of oil infrastructure. (She and her legal team expect the first court case to unfold in Virginia.)

Engaging with the courts or other systems of power is a familiar tactic for ABOG-supported artists. Celebrating the lineage of someone like Mierle Laderman Ukeles—who, since the 1970s, has served as an artist-in-residence with New York’s Department of Sanitation— the group has worked with artists who have partnered with the city agencies and institutions, like the Department of Homeless Services (Jody Wood) and the AFL-CIO (Sol Aramendi).

Admittedly, not everyone is fully supportive of projects that aim for social engagement. Engaging with power poses its own questions, given that agencies and institutions can often be complicit in perpetuating systems of inequality. Critics see socially engaged practice as more of a band-aid than a fundamental shift.

Aviva Rahmani, Blued Trees Symphony, Rensselaer County, New York. Photo by Jack Baran, 2015. Courtesy of A Blade of Grass.

While noting that these points can be valid, Fisher says that “we don’t have the luxury of scrapping these huge institutional systems.” Art, she argues, can push and subvert ingrained systems of power in fresh directions. She points to the collective Hello Velocity, a 2017 fellow that is developing Gradient, a system that lets users pay for purchases on a sliding scale based on their income. “We’re all complicit in capitalism,” Fisher says. “In order to change that we have to reimagine it while we’re living in it.”

They recognize that engaging so overtly with capitalism and commerce is something artists—especially socially conscious ones—prefer to avoid completely. But, said Hello Velocity’s Lukas Bentel, “If you want to talk about something it’s always better to get your hands a little dirty.”

Then there is the additional benefit of deploying art to tackle these problems: It acts as shield for bureaucracies or commerce platforms that otherwise wouldn’t dream of experimenting. Take 2014 ABOG fellow Jody Wood’s project—a mobile van that provided empowering beauty care to homeless people in New York. Or Jackie Sumell, a 2017 fellow, who is creating a “mobile prison abolition unit” that looks to create dialogue between the incarcerated and the wider public. Or Stephanie Dinkins, who is planning to work with people of color to understand how algorithms tend to replicate the biases of society, before ultimately designing a fairer artificial intelligence.

Socially engaged art is always full of contradictions. Its practitioners strive to make an impact—but also tout their ability, and perhaps willingness, to fail. They challenge systems of power—but must work within those systems in order to have real effect. But these points of seeming fissure are actually the source of socially engaged art’s power, not simply as a strategy, but as a form. As Fisher puts it, “Art is a place where we can hold contradictions and tensions.”

—Isaac Kaplan

Cover image: Freeman Word and collaborator. Photo by Julie Kellman.

from Artsy News

[furubatsu]

Like, Wyll's story is a mess.

It's clear that due to time constraints that there was some stuff leftover from Early Access that is now counterproductive to the character they have created (for example, sparing Sazza in the Druid's Grove earning you disapproval with him makes sense in EA when he has genuine beef and anger towards Goblins, but otherwise killing an unarmed prisoner--goblin or not--feels like a huge disconnect from the man we're given in the main game release), and that's just off the top of my head! There are other moments that feel like they belong to a different character because, technically speaking, they do.

EA Wyll is a different person completely from the Blade of Frontiers we get. Both are great characters, in my opinion. I liked how EAWyll seemed almost fake in his charisma, that this was all an act for him, he's used to playing the cocky confident hero that he doesn't know who he is under the mask and can even be a little agressive with Tav was a great and interesting take on a Folk Hero.

Actual Game Wyll is also good, in a group of fucked up little weirdo's he comes accross as the moral compass, a genuine heroic man who wants to do good, but is also just enough of a fucked up little weirdo himself that he also fits in nicely with the group. I wish he got more dialogue with Karlach, considering that they changed his recruitment Quest from "Interrogate the Goblins" to "Murk Karlach" only for him to take a big risk in sparing her (he had no way of knowing what Mizora would to do punish him for backing out of this mission, after all) and honestly I feel like we were robbed of his body issues/trauma over what Mizora did to him. You get like...one scene that's easy to miss with Zevlor after he's turned that illustrates that the Tiefling refugees are uncomfortable with him/that there IS a difference between a Tiefling and a Devil, but that's about it and I admit even I thoguht he was being a little dramatic at the party when he said he didn't think he'd be welcome because I missed that encounter in my first playthrough. It's a shame that playing a Tiefling yourself doesn't give you any Bonus Dialogue with him over it (or even playing a Sorcerer, considering that they too, would know what it's like to have your body magically changed against your will) while Astarion will get Tiefling specific dialogue and Gale will get Spellcaster specific dialogue and Shadowheart will get Cleric specific dialogue etc etc

it just goes to further illustrate that a lot of stuff got cut for Wyll and not a lot was made or used to fill those gaps. I admit, I haven't played his romance yet, I haven't heard good things and from what I've seen, the struggle is real. I like the idea of a romance not being initiated until long after the other party members can begin theirs, he'll admit himself in a dialogue that a lot of his body has changed, including his genitals, and even I wouldn't want to rush into bed with someone when I don't even recognize my own body in a mirror anymore. What Mizora did to Wyll is not only traumatizing but humiliating as well, changing even a facet like that is meant to be a blow to his self identity. I personally think, after you get the sweet dance scene with Wyll, that it should later trigger what was the Early Access Romance Scene.

For those who didn't see/play it, the scene basically goes that Tav and Wyll find a spot to spend some alone time, and it's clear Wyll is distracted. The sending stone (Wyll's fake/stone eye) is something Mizora uses to spy on and communicate with Wyll, she's there, in his head, ruining this intimate moment for him. Tav can either have such good sex with Wyll that he forgets about Mizora or they can just...cuddle, and share an intimate moment without the sex.

I. Love. That. I wish they kept that in. I don't know why they havent. Of course, some of the context of the scene has changed, in EA it's implied, if not outright stated that Wyll and Mizora were also lovers, though EAWyll tells you part of the reason he wants to rescue Mizora is so he can use it as leverage to get out of his contract with her, the scene plays it vague as to whether or not his hesitation is because Mizora is making it hard for him to be present with Tav in that moment, or because he feels guilty for effectively "cheating" on Mizora. Though it's a simple case of getting rid of that bit and just leaning into how this is just another abuse tactic of Mizora's, from his father and his city when he was a teenager to this moment with Tav right now, Mizora always seems to find the right time to swoop in and isolate Wyll and keep him that way, but this is also a moment for Tav to let Wyll know that they don't mind the baggage, that Mizora isn't going to scare them off. The fact that this is a romance you can pursue without initiating a sex scene feels like a cherry on top for players who are put off by the sex. Then we can move on and have speak to you warmly, and get the proposal scene with the REALLY awkward sex scene that's kinda cringe. Because you already established to Wyll that you're in it for the long haul.

Speaking of being there for Wyll, I admit, I'm not upset that he's the one companion who doesn't have agency in freeing himself from his shitty situation actually, I'm just upset how it was handled. In the above mentioned EA Romance scene, you can get a line where he admits that he's been the hero for so long, he doesn't know how to be taken care of, and I think that would've been a very interesting dynamic to be allowed to build with him--romantic or platonic--in being the first person in years he can actually lean on and go to for help. He's a Cinderella story in that his Empowerment/Escape from Abuse Fantasy isn't the catharsis of killing your abuser or dramatically cutting ties with them to ride off into a new life, its the Fantasy of someone seeing what you're going through, saying "That's not right", and saving you. If they just fucking committed to that as part of his character then the part where getting him away from Mizora resting on your shoulders would be so, so good. It would be seeing someone whose otherwise been a demons personal punching bag since before he finished puberty, who refuses to give her the satisfaction of breaking him, finally having someone else come along and take the weight of off his shoulders.

There's probably more to add to this but I lied earlier about writing this later, it's now 1am. I should really sleep.

As some of you may have seen with my timeline, I've been getting a little frustrated with both the fandom and Larian's treatment of Wyll Ravengard.

So I ended up posting a feedback form to them and I guess I wanted to share it here too because I was stewing on getting some of my thoughts and feelings out about Wyll for a little bit now and the XBOX animation kinda gave me the kick up the arse to do it. Might elaborate further when it's not Half-Past Midnight and I got up at 6am.

Wyll Ravengard's character suffers from being rewritten so late into production and it sadly shows with him, from his romance route being notably lacking in both significant moments that other routes get, to simple dialogue options or changes all the way to his own personal quest that has much less significance or presence in the main story than Lae'zel, Shadowheart or Astarion. The last minute rewrite also makes some moments with him feel disjointed, such as the treatment of his relationship with Mizora, in Early Access it was implied, if not outright stated that he was in a relationship with her while in the released game he clearly despises her for the abuse she's given him over the years, yet the narrative treats it like it's not a big deal, even allowing the player to sleep with her (I'm not suggesting you remove that option, after all, it's up to the player's choice) but the inability to remove her from the camp leaves an odd and uncomfortable feeling for a lot of female players (if for example, Wyll and Mizora's genders were swapped and it was a male abuser just hanging around his female victim and trying to seduce her lover/friend, it would be a very different vibe), even the XBOX announcement animation, protrays Wyll as being into Mizora. Best I can suggest is, either decide just what Wyll's conflict with Mizora is, whether he accepts that the power she gave him has made him the man he is today, for better or worse, or an abuser he needs to be rescued from. Heck, you could even recycle his romance scene from Early Access where she gets in the way of an intimate scene because of his scrying eye to show how she isolates him! Wyll isn't the only one who suffers from this, it's clear that Halsin hasn't got much to do after the Shadowfell/Moonrise Tower Questline, not even a conversation with the Refugees or that one Druid in the city trying to revive a tree, but it stands out the most with Wyll and it's such a shame that a character that had so much promise has been handicapped by time constraints. Hopinng this leads to at least something, and thanks for this game.

Edit 1: Where you can leave feedback if you wanna say something too