#but I did want to say something about it

[francixoxoxo]

So sorry but I don’t think I will ever rock with noncon js bc it feels very much like disguised glamorization??? To me atleast, I’m not exactly shaking in my boots to offend somebody who likes it, live and let live, but I will never be able to digest any rape or noncon without feeling madly uncomfortable

[hailsatanacab]

Family Dinners - dpxdc

"Holy shit, you're Bruce Wayne!" Danny gaped, jabbing a finger at the man sitting at the head of the table.

The bustling dining room goes silent as everyone turns to look at him.

"Danny, who did you think was going to be here?" Tim asks, disbelief plain in his voice and Danny feels his face flush red.

"Sorry, I, uh, I guess I just never put it together. Tim Drake-Wayne. Wayne Manor. It, uh, makes sense now." He laughs sheepishly and scrubs at his neck before slumping back down into his chair.

"Well," Tim says with an indulgent sigh, "at least I know you're not just friends with me for my connections."

"Yeah, I'm really sorry, I just never thought about it, I guess."

Danny sinks lower as everyone around him laughs. Come to dinner, he said, the food is the best, he said, ignore the family, he said. Danny really wishes he'd listened to Tim and just ignored them—almost as much as he's regretting accepting the offer in the first place—but... he's having dinner with Batman.

Ancients, that's so weird!

The last time he saw Batman was in the future and, suffice it to say, it was not going well. There hadn't really been time for family dinners there.

Wait. Family dinners?

He peers around the table, openly gawking at everyone as it all clicks into place.

"Everything alright, Danny? Now realising who everyone else is?" Tim asks with a roll of his eyes.

"Uh... something like that..." Danny mumbles as everyone laughs again.

From further down the table, the smallest Wayne scoffs and clicks his tongue.

"I thought you said he was smart, Drake?"

"So, you all do it, too, then?" he asks, ignoring the jibe. Danny's only a little bit jealous as he thinks of how much easier they must have it, how much easier it'd be if his family had been on his side, too. "You all work together?"

"Nah," Dick says from across the table with a brilliant grin. "Tim's the only one that works with Bruce, we all have different jobs. I'm a police officer in Bludhaven."

"Disgusting." Danny blurts out without thinking—because seriously, what kind of self-respecting vigilante would also be a police officer?—before clapping a hand over his mouth. "Sorry."

The whole table laughs again, the loudest being the blonde girl a few spaces down from Dick. Look, Danny wasn't really paying attention to names when they were all paraded in front of him. Dick only gets remembered because his name is a joke.

Come on, Danny, recover!

"That's, uh, not what I meant, though."

"Oh?" Dick asks, cocking his head slightly to the side. Is it Danny's imagination or does his smile tense slightly?

"Yeah, I mean like, you know, in costume. It must make it so much easier to have everyone together like this."

"Costume? What do you mean?"

Yeah, Danny's not imagining it, everyone tenses up at that. It's really only now that he's realising that this probably isn't how he should bring up that he knows about their... night time activities. In fact, he probably shouldn't be bringing it up at all.

"Uuhhh..." Danny looks wildly around the table as he continues making his stupid noise. Think, think, think! There must be a way out of this!

"Danny?" Tim asks, looking concerned.

"Oh, Ancients, this isn't how I wanted it to go at all," he mutters, slipping even further into his chair. He's almost on the floor now and he so, so wishes it could just swallow him up.

His real first meeting with Batman was meant to be cool! He had planned to be Phantom, maybe save them from a tight spot, prove his worth as a mysterious and powerful ally as thanks for the help Batman gave him in the future.

"Danny, what are you talking about?" Tim starts tugging on his sleeve in an attempt to pull him back up from his pit of despair.

Eventually, Danny relents and sits up straighter, hiding his face in his hands and whining all the while.

"I'm sorry, I just didn't expect him to be here and it threw me off so now I look stupid and it's so embarrassing!" he wails, flailing his arms wide. "Why wouldn't you warn me that Batman was your adopted dad, Tim? Couldn't you have let me know?"

"I'm sorry, what? Danny are you alright? There's no way Bruce can be Batman, look at him!"

"Yeah," the blonde girl laughs from the bottom of the table, "look at him! That's a wet noodle of a man! Batman can actually do things, B is incapable of pretty much everything."

"Thank you, Stephanie," Bruce sighs, massaging his forehead.

It's... Those are the first words Danny's heard Batman say since everything went down and it's enough to knock him out of his embarrassment.

It's really good to hear his voice again. Especially now, when it's strong and healthy and full of personality—even if that personality is little more than a tired father right now—far better than how it had been, at the end.

Danny sits up, back straight, and grins. He's got this. He remembers it perfectly. Some people count sheep to fall asleep, Danny repeats his mantra to be certain that he'll never forget it.

"Gamma alpha upsilon tau iota mu epsilon, 42, 63, 28, 1 colon 65 dash 9."

Once again, the whole table falls into silence.

"Holy shit..." breathes the other D name (Duke? Danny's pretty sure he's Signal) from opposite Stephanie. "Isn't that...?"

"The time travelling code." The littlest Wayne says stiffly. "We have met in the future?"

"That's not just the time travelling code, Dami." Dick says, looking between Danny and Bruce. "That's the family time travelling code."

Danny's grin freezes in place.

"I'm sorry, what?"

"1 colon 65 dash 9." Dick explains, still flicking between him and Bruce. "It means you've been adopted into the family and we should all treat you as such, no questions asked."

"Tell you what, I'm about to ask a question." Danny says, dumbstruck. "You just told me it was a code to identify time travellers, not anything about being adopted! What the hell, B?"

Bruce looks about as shellshocked as Danny feels.

"We must have been close," he says finally, after opening and closing his mouth like a fish out of water a few times.

"No! Not that close!" Danny reels back, taking a deep breath ready to refute it all, but... "Well, I mean, you found me when I first got stuck, and you helped me get better despite being... And then we fought together against the, uh, bad guy, before he, um, he... before you couldn't."

An uncomfortable beat passes while they all pick up on what Danny tried so hard not to say.

"So, you're not from the future, then, you travelled there and came back?" Tim asks, breaking the tension and leaning forward with a glint in his eye.

"Yeah, it was a whole end of the world thing, but don't worry about it," Danny says with a hand wave, "It's all kosher now, won't ever happen."

"What did happen?"

"Seriously, don't worry about it, we cool."

"How long in the future was it?"

"About ten years? You were pretty spry for an old man, B," Danny laughs, wishing they'd get off the topic of what happened and get back to the adoption bit.

Everyone shares degrees of a cautious smile as they relax out of the shock, and Dick—whose grin is the biggest—says, "No wonder you got the family code, you're already riffing on him like one of us. How long were you there for?"

"A week, before I managed to get back to my present and stop him then."

"A week? Jeez, B, that has to set some kind of record, seriously."

"Oh!" Danny says, sitting bolt upright and blinking in surprise before pointing at Dick and bouncing in his seat. "You're Nightwing!"

"What?"

"That's exactly what Nightwing said when Batman told me the code! Makes so much more sense now."

Dick laughs and claps his hands, delighted.

"You were not formally adopted?" The grumpy small one—Dami?—asks, his face pinched.

"I didn't even know I was informally adopted."

"And your parents? Are they alive or dead?"

"Damian, stop—"

"They were dead in the future, but they're alive now." Danny says, looking down. He fiddles with the tablecloth, twisting the fabric around his fingers as he fights down the pang of sadness that he always feels when he thinks of them now. He forces a bright smile on his face and hopes it doesn’t look too strained. "I just, uh, can't talk to them much, anymore."

"Damian," Dick warns, "1 colon 65 dash 9. Treat them as family, no questions asked."

"This is Damian treating him as family, the little turd has no manners." Tim scoffs, rolling his eyes, but he gently bumps shoulders with Danny to knock him out of his funk. Danny can't help but send him a watery smile.

"I have the most exemplary manners, Drake, unlike some people." Damian spits, crossing his arms with a pout. "I was merely ascertaining his status to see how he could possibly fit into the family."

"I know this is all a bit sudden, Danny," Bruce smiles, ignoring Damian and reaching out to lay a warm hand on his arm, "for all of us. But if I felt strongly enough to give you that code after spending a week with you in the future, then you are more than welcome in this family, if you so choose it. I think I can speak for all of us when I say we'd like to get to know you a bit more."

"I know a threat when I hear it, Bruce." Danny snorts. "But, yeah, I get it. I'm sorry this is all so weird, it really wasn't how I wanted to find you again, but... I'm glad I did."

"So are we, Danny." Dick says, with a warm smile. "And formally or not, 1 colon 65 dash 9 means you're family. Welcome to the fun house! No take backs or refunds, sorry. You're stuck with us."

[lotus-pear]

mourning black and the death of ideals

[keferon]

Biblically accurate Blurr~

Blurr's Spotlight was actually the very first Transformers comic I ever read. I remember looking at the first pages and being like, holy shit, dude why are you so ugly?? Ahahjcmgmg

[ciderjacks]

despite Laios low self esteem making him think that if he’d been eaten, Chilchuck and Marcille wouldn’t have helped Falin,

theres a small part of me that thinks the reason Chilchuck stayed with the party and went back in the dungeon in the first place was because he didn’t want to leave Laios alone. That Laios was moreso the reason he stayed.

[egophiliac]

Serious question.

Do you think we’ll see the parents/family of each of the guys???

Like, We’ve been TEASED with Ace’s brother, that I’m starting to think it’s just a reference to that Alice in Wonderland park character in Japan and nothing else….

Jack’s family, Ruggie’s grandma, Falena, Maleficia, Ms.Rosehearts, Just now Vil’s dad is in the picture which I am really happy but now I’m wondering about his mom, and so Deuce’s mom.

I mean, some HAVE a silhouette!! It could mean they do have a design in the making/ready to show. They could’ve shown us Falena in the Tamashina (hope I said that correctly) event, but didn’t (prolly to make Leona not so σ(▼□▼メ) and it’s understandable)

Anyhow, any idea/headcannon about this? Who do you want to see first?

I'm wondering if everyone might eventually get a travel event? like they've now introduced with Vil's that it doesn't have to be specifically hometowns, so that opens things up a lot! (especially if they have to figure out how to do three separate Coral Sea visits) (how would that even work otherwise)

but yeah, I hope everyone gets a chance! there's a lot of backstory characters I would LOVE to meet. :D :D :D though I do think some of them don't really suit the more light-hearted tone of the events (pretty sure you're right about that being why Falena wasn't in Tamashina-Mina, that would've just been. too much for Leona.) so like...we're probably not ever going to meet the Rosehearts. or Maleficia (although I maintain that this would be THE funniest possible way to introduce her outside of the main story, and actually I would love this a lot, can we please Twst) (I need to see her to put Malleus in a froofy little outfit and tell him what a handsome boy he is). but they've sprung surprises like Kifaji on us, and honestly anyone who shows up and tells embarrassing stories about characters' childhoods is good in my book!

characters off the top of my head who I most want to meet: literally any of the Zigvolts, Azul's mom, Ace's brother, Che'nya's grandfather (<- I think he would be a good one for Riddle) (please just any non-terrible adult in his life), any member of Rook's family because I need to see how they managed to produce him, and...really just whoever they can come up with for Silver.

[grandwretch]

i so badly want one of those fic examinations of steve's relationship with joyce and hopper but solely through eddie's pov like hear me out

steve and eddie chat a lot in the upside down (and later in the hospital, when they learn hop is alive). steve has taken charge of filling eddie in on the rest of their of-age crew without the kids butting in. he never mentions his own parents, but he talks about the rest of the party's a lot, especially joyce and hopper. eddie knows what it's like to desperately want someone to be your parent and trying to hide it from his own childhood, when he would try to be cool about wayne dropping him off at his dad's house. steve obviously adores joyce and hopper, thinks the world of them and legitimately looks up to them.

eddie isn't sure what he expects from a cop who came back to life and the world's most determined housewife, but he's excited to meet them as someone steve loves.

cue eddie's horror when he realizes that neither of them really feel much for steve rather than annoyance and vague distrust. that joyce trusts will with eddie, an accused murderer, in a heartbeat and still hesitates to leave him with steve. that hopper brushes off every ounce of steve's hero worship and joy.

he tries to broach the topic with steve, gently, and is heartbroken when steve genuinely has no idea what he's talking about. and not because he's oblivious, but because steve thinks that's what he deserves. he thinks that's the parental love that someone who was an asshole in high school needs, because that's what would make him a good person. he needs people to call him out constantly, obviously, because why else would they keep doing it? why would nancy? at least they're here. at least they're not ignoring him. at least they're not forcing him into a box. they just want him to be better.

like, this is the man who thanked a girl for calling him bullshit and telling him she never loved him. he doesn't Know that's not how you're supposed to handle things. no one ever taught him that.

and now eddie's gotta figure out how he can teach steve how to be loved the right way without outing himself and his huge crush on his love-starved dork of a friend.

[lazylittledragon]

ok i swear i'm not going to talk about my breakup forever but the thing that just keeps bothering me:

i know that not getting what you need in a relationship is a COMPLETELY valid reason to end it but also. i feel like having a very vulnerable moment where i opened up about my struggles with intimacy and being relieved that i didn't have to keep doing things i wasn't comfortable with, then being dumped a YEAR later because of my lack of intimacy. is something i should be allowed to be very hurt by???

[meagancandraw]

You ever think about how neither of them got to say goodbye?

[corvidcall]

None Of You Know What Haiku Are

I'm going to preface this by saying that i am not an expert in ANY form of poetry, just an enthusiast. Also, this post is... really long. Too long? Definitely too long. Whoops! I love poetry.

If you ask most English-speaking people (or haiku-bot) what a haiku is, they would probably say that it's a form of poetry that has 3 lines, with 5, and then 7, and then 5 syllables in them. That's certainly what I was taught in school when we did our scant poetry unit, but since... idk elementary school when I learned that, I've learned that that's actually a pretty inaccurate definition of haiku. And I think that inaccurate definition is a big part of why most people (myself included until relatively recently!) think that haiku are kind of... dumb? unimpressive? simple and boring? I mean, if you can just put any words with the right number of syllables into 3 lines, what makes it special?

Well, let me get into why the 5-7-5 understanding of haiku is wrong, and also what makes haiku so special (with examples)!

First of all, Japanese doesn't have syllables! There's a few different names for what phonetic units actually make up the language- In Japanese, they're called "On" (音), which translates to "sound", although English-language linguists often call it a "mora" (μ), which (quoting from Wikipedia here) "is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable." (x) "Oh" is one syllable, and also one mora, whereas "Oi" has one syllable, but two moras. "Ba" has one mora, "Baa" has two moras, etc. In English, we would say that a haiku is made up of three lines, with 5-7-5 syllables in them, 17 syllables total. In Japanese, that would be 17 sounds.

For an example of the difference, the word "haiku", in English, has 2 syllables (hai-ku), but in Japanese, はいく has 3 sounds (ha-i-ku). "Christmas" has 2 syllables, but in Japanese, "クリスマス" (ku-ri-su-ma-su) is 5 sounds! that's a while line on its own! Sometimes the syllables are the same as the sounds ("sushi" is two syllables, and すし is two sounds), but sometimes they're very different.

In addition, words in Japanese are frequently longer than their English equivalents. For example, the word "cuckoo" in Japanese is "ほととぎす" (hototogisu).

Now, I'm sure you're all very impressed at how I can use an English to Japanese dictionary (thank you, my mother is proud), but what does any of this matter? So two languages are different. How does that impact our understanding of haiku?

Well, if you think about the fact that Japanese words are frequently longer than English words, AND that Japanese counts sounds and not syllables, you can see how, "based purely on a 17-syllable counting method, a poet writing in English could easily slip in enough words for two haiku in Japanese” (quote from Grit, Grace, and Gold: Haiku Celebrating the Sports of Summer by Kit Pancoast Nagamura). If you're writing a poem using 17 English syllables, you are writing significantly more content than is in an authentic Japanese haiku.

(Also not all Japanese haiku are 17 sounds at all. It's really more of a guideline.)

Focusing on the 5-7-5 form leads to ignoring other strategies/common conventions of haiku, which personally, I think are more interesting! Two of the big ones are kigo, a season word, and kireji, a cutting word.

Kigo are words/phrases/images associated with a particular season, like snow for winter, or cherry blossoms for spring. In Japan, they actually publish reference books of kigo called saijiki, which is basically like a dictionary or almanac of kigo, describing the meaning, providing a list of related words, and some haiku that use that kigo. Using a a particular kigo both grounds the haiku in a particular time, but also alludes to other haiku that have used the same one.

Kireji is a thing that doesn't easily translate to English, but it's almost like a spoken piece of punctuation, separating the haiku into two parts/images that resonate with and add depth to each other. Some examples of kireji would be "ya", "keri", and "kana." Here's kireji in action in one of the most famous haiku:

古池や　蛙飛び込む　水の音 (Furu ike ya　kawazu tobikomu　mizu no oto) (The old pond — A frog jumps in The sound of the water.)

You can see the kireji at the end of the first line- 古池や literally translates to "old pond ya". The "ya" doesn't have linguistic meaning, but it denotes the separation between the two focuses of the haiku. First, we are picturing a pond. It's old, mature. The water is still. And then there's a frog! It's spring and he's fresh and new to the world! He jumps into the pond and goes "splash"! Wowie! When I say "cutting word", instead of say, a knife cutting, I like to imagine a film cut. The camera shows the pond, and then it cuts to the frog who jumps in.

English doesn't really have a version of this, at least not one that's spoken, but in English language haiku, people will frequently use a dash or an ellipses to fill the same role.

Format aside, there are also some conventions of the actual content, too. They frequently focus on nature, and are generally use direct language without metaphor. They use concrete images without judgement or analysis, inviting the reader to step into their shoes and imagine how they'd feel in the situation. It's not about describing how you feel, so much as it's about describing what made you feel.

Now, let's put it all together, looking at a haiku written Yosa Buson around 1760 (translated by Harold G. Henderson)

The piercing chill I feel: my dead wife's comb, in our bedroom, under my heel

We've got our kigo with "the piercing chill." We read that, and we imagine it's probably winter. It's cold, and the kind of cold wind that cuts through you. There's our kireji- this translation uses a colon to differentiate our two images: the piercing chill, and the poet stepping on his dead wife's comb. There's no descriptions of what the poet is feeling, but you can imagine stepping into his shoes. You can imagine the pain he's experiencing in that moment on your own.

"But tumblr user corvidcall!" I hear you say, "All the examples you've used so far are Japanese haiku that have been translated! Are you implying that it's impossible for a good haiku to be written in English?" NO!!!!! I love English haiku! Here's a good example, which won first place in the 2000 Henderson haiku contest, sponsored by the Haiku Society of America:

meteor shower . . . a gentle wave wets our sandals

When you read this one, can you imagine being in the poet's place? Do you feel the surprise as the tide comes in? Do you feel the summer-ness of the moment? Haiku are about describing things with the senses, and how you take in the world around you. In a way, it's like the poet is only setting a scene, which you inhabit and fill with meaning based on your own experiences. You and I are imagining different beaches, different waves, different people that make up the "our" it mentioned.

"Do I HAVE to include all these things when I write haiku? If I include all these things, does that mean my haiku will be good?" I mean, I don't know. What colors make up a good painting? What scenes make up a good play? It's a creative medium, and nobody can really tell you you can't experiment with form. Certainly not me! But I think it's important to know what the conventions of the form are, so you can appreciate good examples of it, and so you can know what you're actually experimenting with. And I mean... I'm not the poetry cops. But if you're not interested in engaging with the actual conventions and limitations of the form, then why are you even using that form?

I'll leave you with one more English language haiku, which is probably my favorite haiku ever. It was written by Tom Bierovic, and won first place at the 2021 Haiku Society of America Haiku Awards

a year at most . . . we pretend to watch the hummingbirds

Sources: (x) (x) (x) (x) (x) (x)

Further reading:

Forms in English Haiku by Keiko Imaoka Haiku: A Whole Lot More Than 5-7-5 by Jack How to Write a Bad Haiku by KrisL Haiku Are Not a Joke: A Plea from a Poet Who Has Had It Up to Here by Sandra Simpson Haiku Checklist by Katherine Raine

[knockknockitsnickels]

I think this is one of my favorite lines from the Wraith route because of (imo) how much the meaning changes depending on if you got there via Spectre or Nightmare. For Spectre, it honestly strikes me as a genuine question. Why are you doing this to her? If you're on the Spectre route, you presumably already know the Narrator can't really be trusted, since you had to reject his reward to get here. What are you hoping to gain from continuing to hurt her? For Nightmare, it honestly just makes me sad. As the Shifting Mound describes her, "She desires only companionship, but the only thing she knows is how to hurt." This line feels like a plea from someone who genuinely doesn't understand why you keep rejecting her. She wants to be with you, but she just can't understand how to do that in a way which doesn't hurt you.

[corsairspade]

you are a god's best friend. the world is young still, and you are yet younger. he rides with you and hunts with you, and teaches you how to speak to birds and beasts. you are a god's student. you ride in his train and care for a hound that he gifted to you. gods have taught others before. gods have been kindly to others before. your god is your best friend. he gifts you something of his self, a hound of his own hunt.

you are your father's son. your grandfather is dead. no one has ever called you wise, and you are, above all else, your father's son. he swears a terrible oath. you swear a terrible oath. you don't know if you really mean it, but your mother named you well- you are hasty to rise, hasty to run into things. the hunt teaches you patience but you cannot outrun yourself. you are your father's son.

you are a god's best friend and you have sworn a terrible oath, but it is an oath that you hope that your friend can understand. to hunt the murderer of your grandfather, is something that the god of the hunt can understand.

you are your father's son. the blood of elves on your hands does not feel different than the blood of a deer, except in the tight feeling of your throat. except in the thunderous beating of your heart. you tell your brother, who is trying not to throw up, that you need to think of them like deer. he looks at you like he's never seen you before. you are forever doomed.

you are a god's best friend. he does not say goodbye, but your dog comes with you. surely you can fix this, then, surely you are still a god's friend.

you are your father's son. he dies. he dies but before he does, he tells you to burn the boats. you do. you are your father's son. your father dies and, he tells you to swear that oath once more. it is a terrible oath. you have sworn it once. you swore to your best friend once. surely it will not tip the scales to swear once more, if in your mind, you dedicate this hunt to him.

you were a god's best friend, and it is not enough. you are your father's son, and you speak your father's oath. it proceeds to eat you alive.

[vicsy]

used to be, you and me

[carnivalcarriondiscarded]

haha just kidding, nothing is free!

100 bucks. fork it over.

[sunflowerwizard]

I've seen enough people mischaracterizing Early Access Wyll, so here's the best breakdown of his original character I can give.

I'll start this off by plainly summarizing Wyll's EA backstory, some of his core personality traits, then do a bit of analysis.

BACKSTORY

EA Wyll mentions being "born and bred in the upper city" into nobility. It's unspecified what exact level of influence his family occupied.

In datamined voice lines from EA (take with a grain of salt) Wyll refers to being from House Eltan specifically. Eltan was the Grand Duke of Baldur's Gate in the first Baldur's Gate Game, and the founder of the Flaming Fist. Forgotten Realms lore states that the Eltans are no longer in charge of the Fist and have somewhat diminished in power, but again. We don't know to exactly what level.

This also means that this iteration of Wyll was not Ulder Ravengard's son. While he still spoke about his father in EA, the descriptions and characterizations do not line up with Ulder at all. Additionally, he comments about "knowing of" Ravengard during the burning inn sequence, but otherwise makes no connection.

The most damning evidence of all that Wyll being a Ravengard was not originally intended, is Wyll wanting to be like his father and thus "going thieving in the wrong shadows".

Wyll gets caught stealing, presumably as a teenager, and his father uses latent connections within the Flaming Fist to get Wyll sent there. Effectively the fantasy equivalent of sending your unruly kid to boot camp.

Wyll mentions that he didn't adjust well to life as part of the Flaming Fist, was not a very good fighter, and was generally not well liked. The goblin at the windmill calling Wyll "Captain Failure" implies he might have been given higher status despite not earning it.

The way Wyll feels about goblins is a big change between EA and full release, and is explained as part of his backstory.

We didn't get the finer details, but we can assume Wyll in his time with the Fist bore witness to a group of goblins razing a village. Horrified and enraged, he tried fighting a goblin, was overwhelmed, and had his eye torn out.

This is when Mizora showed up and offered him a pact. Considering he was left for dead and probably going to bleed out, it's pretty understandable why he took the deal.

Mizora is not nearly as present in Early Access as she is in the current game. Karlach was not involved in Wyll's story at all, there's no devil transformation.

It's also more heavily insinuated there's a sexually coercive element of Wyll and Mizora's relationship, with him speaking to how every time he wanted to leave her, she found some way to pull him back.

Additionally, Wyll wants out of that contract. Unlike full release where Mizora is randomly captured in Act 2, she starts off kidnapped, and insists she'll let Wyll go if he frees her

It kind of ended up being a plot cul de sac, but Torturer Spike was the goblin that took Wyll's eye--which was a quest item you could pickpocket/loot off his body. Wyll had commentary on it and everything.

TL;DR: -Born to a noble family with Flaming Fist connections -Caught Stealing and sent to work for the Fist as punishment -Tried to fight back during a goblin attack and was gravely injured -Mizora offers a pact -Uses his pact to become a traveling monster hunter, presumably to make up for his past failure to protect people. Antagonistic towards goblins in particular -Ultimately wants out of the pact, but Mizora won't let him go -Wyll and Mizora get abducted by Mind Flayers -Mizora agrees to let Wyll go if he frees her from the cultists

PERSONALITY

This is a bit less concrete than changed story beats, but I can say this: a lot of Wyll's core traits stayed intact between EA and full release. He's still willing to put his life on the line for the Tiefling refugees, with a whole cut line about how the kids he's training deserve to have a carefree childhood. He wants to do good in the world, probably because he spent so much time in his youth feeling like a fuck up.

There's also a much clearer divide between "Wyll" and "The Blade of Frontiers". Notably, in EA he didn't introduce himself by name. Not even a "my friends call me Wyll" quip at Shadowheart like he has currently. During his old romance scene, he has a line about being used to being the hero, and not used to needing one. He's a symbol. An emblem of something bigger than himself. The fact he's so self-aggrandizing as The Blade makes it apparent he's not confident in himself as "just Wyll"

He's also decidedly more forward and flirty in EA, with no reservations about courtship. In fact, the main obstacle to your budding relationship is Mizora herself. Wyll's trauma from her treatment interrupts your first night together. Whether you have sex or just snuggle, Wyll has a line about how he doesn't want to start a relationship until he can "give himself completely" after being freed from his pact.

THOUGHTS & COMPARISONS

I'm also not entirely sure if I'd say EA Wyll is substantially angrier than current Wyll, so much as he had more opportunities to be angry during Early Access. I can understand why the goblin stuff was cut, because it did dip into "Let's make the one black guy fantasy racist" trope. However, it did very much feel like the narrative was pointing in bright, flashing colors that this is a trait Wyll would have to grapple with, learn, and grow from. The fact EA Wyll's most glaring character flaw was scrapped and didn't get much of a replacement in full release makes his story feel less realized.

While I appreciate the overtly sexual element of Wyll and Mizora's relationship was removed, I feel like the final version is somehow even more creepy. During Early Access she existed in the background as a vague villain you only experience via Wyll. And if you do his romance scene and see the way he panics at the mere memory of her, you get the impression of oh shit. This broad is bad news and I've gotta get my boy out of there. The same principle behind not showing the big scary monster too early in the horror movie. Once you've seen it, you can't let your mind fill in the blanks. Mizora went from this intimidating figure whose motives you couldn't fully ascertain, to a mean girl that thinks she's smarter than everyone else but is really just the bumbling lackey of a bigger fish. Who pulls Wyll around with an actual metaphysical leash like a dog. And you're meant to find this sexy.

My final point, and I've said this before: current Wyll's personality seemed more suited to being a scion of house Eltan, while EA Wyll seemed more suited to being Ulder Ravengard's dissapointment son. Current Wyll speaks and carries him like someone raised in nobility despite only being elevated to such status as a teenager. Perhaps this is cynical and maybe even a bit of a conspiracy theory, but I genuinely think he's only Ravengard's son to save on time and assets. Why give Wyll a whole unique family with its own story when we can just tie him in to the "rescue the grand duke" plot, regardless of how much sense it makes!

[kawaiichibiart]

Hello, yes, I need more cards where the characters interact with their younger selves.

I want more of this please: