#either way it's great storytelling

[alexwilltellyouthings]

Dead Boy Detectives was really smooth with how they decided to keep us hanging with Edwin/Charles. We have hints, but no real way of knowing how their relationship will move forward and that feels very deliberate.

'Cause I mean. We see how Edwin is acting after realizing his feelings. He's not all that subtle (for us) in episode 6. He changes clothes, checks Charles out, lingers on a touch on his shoulder, etc. It's clear he changed.

But then, after hell and the confession, we have just TWO scenes focused on them, and they are somehwat hard to decipher, especially when it comes to Charles' reactions. The scenes are pretty opposite.

First, the roof right after hell. They are standing very apart from each other (not usual at all), each looking away, and there's an awkwardness going on when they do make eye contact. It's cute, but unlike anything we've seen from them before, and it indicates a shift in the dynamic that neither of them seems quite ready to face.

Then Charles reassures Edwin that they're good, they smile, Crystal shows up and goes straight to lean against Charles, not even thinking about it, while Edwin is still at the other side. It feels very interesting to me that they chose to go with this unbalance of proximity. It looks... hurtful, to Edwin at least.

Then there's Crystal with her memories, saying goodbye, Esther, the whole shebang, and the next time we see the boys by themselves is at the very end. Which was also a very interesting choice in proximity, as we all know. But this time, the other way around — they are closer than ever.

Also I think it's worth noting that, before this, when they are about to leave Port Townsend, both Charles and Edwin have a little moment with their respective love interests. Charles and Crystal act kinda shy at each other in Niko's room, while Edwin talks to the Cat King. Again, it feels deliberate.

So are there going to be other awkward moments? Is Edwin going to be fine with the craving he now clearly has? Is Charles going to act confident or bashful? And obviously there's room for the Cat King and Crystal to still mean something romantic and/or sexual to them, in one way or the other. Basically, the evidence can point to any direction. And as much of a Payneland truther I am, I have to admit it can also point to a whole different development. The show made sure to leave all doors open, including the ones leading to heartbreak.

It makes me anxious, and it's also lowkey brilliant.

[vaguely-concerned]

the idea this game posits that just as much as or even more so than lucanis is having a demon problem, spite is currently having a lucanis problem. is everything to me. spite voice bitch you live like this???

[rawliverandgoronspice]

I don't get why people hate the timeline so much, its not like you can't pretty much completely ignore it when you play the games. The only time it even approaches mattering to the story is when there is an explicit sequel like botw and totk or zelda and zelda 2

Hey sorry your ask got lost in the sauce of my broken tumblr, but: yeah!

I mean, I get why in some sense. It's been a heated point of debate and I think some people understandably resent the space it has taken not only in fandom discourse, but in how people began to understand the game and its narrative aesthetic choices. There is such a thing as over-rationalizing everything to hard logic, and sometimes it's just not the fandom for that --especially when you begin to forget it's all just fan theory and start to forget what the games are supposed to be like and evoke beyond just strict facts displayed in a linear way.

What I think bugs me with TotK in particular is that it both evokes and relies on continuity and the idea of a timeline, of archeology, of history itself, while being so loose and vacant with it that it both is doing Timeline Shit while also completely failing to understand why some parts of the fandom were invested in Timeline Shit to begin with.

But that's just my two cents of course!

[rigginsstreet]

Like I’m not gonna sit here and pretend there isn’t misogyny in horror movies but like there’s misogyny in every genre and the way y’all talk sometimes it’s like you’ve never seen a horror movie or saw one (1) woman die and decided they’re the only ones getting killed throughout the entirety of horror history

May shock you to learn this but men be dying too

[navree]

"cleopatra movie starring zendaya as cleopatra and timothee chalamet as octavian" i was having a good day and now i have an anger headache

[bredforloyalty]

i don't think we do luv i don't think we do

[legionofpotatoes]

can't believe I just spent three hours watching a movie about masculine anxiety in the nuclear family model, told through cartoon alien tribes wearing Mãori tattoos

[kuromi-hoemie]

fictional or not, dragon lore is always so interesting.

[ineffable-gallimaufry]

here's my probably posting schedule!

front burner fics: both eyes all the way down and the golden ghosts will update biweekly (as in every other week) thursday BUT the deal is that it's going to be alternating. like one week is eyes all the way down, next week is the golden ghosts, and then it continues. no golden ghosts today though since i'm not ready lol

back burner fics: they're all going to update on tuesdays i think. that feels the most right. so though i try, how can i carry on will update on the first tuesday of every month, fantasy and microchips will update the second tuesday of every month, and it was hate at first sight will update the third tuesday of every month. fourth tuesday won't consistently have things posted but sometimes i write one-shots for funsies so if i have any lying around then that's when you'll see em i think. if there's a fifth tuesday... fuck it. i'm not posting anything. i don't appreciate fifth tuesdays. no thanks

anyways. yeag 👍 hope this works out for people.

[pheonix-inside]

The musical I'm in rn at school is really fun and has really interesting themes about marriage and gender and relationships in general in the 70s, but my god do I die inside whenever we rehearse one of the songs that basically boils down to the male characters not liking their wives and objectifying other women. Hahahaha.

At least my character's husband loves her. 😒

[fondcrimes]

the "labru chapter" is the kabru chapter

this is a dungeon meshi love manifesto, but not in the way you think. sorry not sorry for the labrubait

what makes chapter 76 so amazing is kabru’s desperation has little to do with laios specifically. it’s not just about kabru being obsessed with laios and making sure he doesn't cause tragedy, either. I think this chapter emphasizes kabru's struggle with the concept of love and companionship. the point of this chapter is that every critical part of kabru collides at once and renders him useless.

(disclaimer: this post includes a lot of projection/speculation but it's to understand kabru's character arc i promise. for clearer analysis and examination of how kabru's ideologies are constructed, check out this really great post)

kabru is a lone visionary

in ch 76, kabru’s threatened by lycion exposing his true intentions to laios not only bc he wants to prevent laios from joining marcille in her destruction, but also bc laios is also from a short-lived race and kabru needs an ally in his power struggle against elves (esp when the chips are down)

but has kabru really accepted his need for allies in his plight? kabru has spent his adult life suppressing a human urge to connect meaningfully with others. he even keeps rinsha et al. at arm's length in the name of achieving his masculine hero complex/survivor's guilt goals. he's already quite disillusioned bc most adventurers don't have the same goal as he does. so he uses people and gets on their good side for systematic support. he’s well-intentioned and takes care of his party. but the idea that an ally could also protect HIM and make HIM feel safe as well doesn’t really register with him until later on in the narrative bc camaraderie and allyship, at its core, is about acknowledging intimacy. kabru struggles with intimacy sub-textually (his self-neglect and social insincerity) even though he knows how to simulate it to gain others' trust.

but he can’t crack laios, he can’t get him to listen. for lack of a better word, kabru is spoiled by the fruits of his superb perception and emotional intelligence. he also doesn’t cope well with failure (bc his goal is too valuable to ~not~ devote himself to) he puts too much value in conquering laios and when he thinks he's failed, he basically crashes out. the real problem is he still doesn’t understand his true feelings--not feelings for laios, but the root of his desire. the root of his goals and the endless search for companionship.

kabru is a strategic historian

at his core, kabru is a storyteller. he tells himself a variety of stories about his trauma and his goals, which serve as motivation and to some extent, self-protection (as shown in his conversation w mithrun). he deeply understands the role of storytelling in regards to the construction of history and drastic shifts in power.

as an utayan, he understands that the tragedy that overcame his people was not random, but resulted from elven negligence of a disenfranchised people. it is imperative for kabru to cement himself as a voice for otherwise voiceless people. in his story, he has no choice but to handle the hero, if not become the hero himself.

kabru even has a story about his pursuit of laios, mainly that laios is currently the most capable person of defeating the mage and that he must do whatever it takes to ensure laios doesn’t fuck it up. his instincts are right, sure, but at first, he places special value in laios’ capabilities that almost seems unearned… like yes he’s studied the island adventurers with frightening expertise, so it makes sense he would have a good idea about who is the most equipped to succeed. but his early suspicions of the toudens seems to complicate my perception of his knowledge by adding emotional depth and a layer of tinhattery so to speak.

canonically, kabru has been rebuffed by laios multiple times (which is so... lolll) when he's talking with his party, kabru hides behind the excuse of dungeon but he’s been trying to get his attention this whole time. to me it reads like he's got a bruised ego from being ignored and is being a hater about it (so real lol). it's funny bc kabru is usually great at taking shit from others (esp elves) if it means nobody suspects/interrogates his true intentions and he can keep the peace. so why does laios tick him off so bad? now we have to get into the psychoanalysis of it all!

kabru is a cynic

first and foremost, kabru’s cynical philosophy about humans is challenged by the touden mission. but plenty of people don’t care about the impact of their actions, so why does kabru obsess over the toudens at the start? I figured kui changed gears with kabru's characterization following his introduction, but I want to try to connect it to kabru's unresolved survivor's guilt. kabru is the sole survivor of a catastrophe caused by negligence and oversight. he criticizes the negative impact of the toudens' generosity and naïveté and confirms his cynical worldview (the road to hell is paved with best intentions), but still maintains a level-headed perspective. on the other hand, kabru's interactions with laios are tinged with irrational jealousy/resentment/desperation, even prior to kabru learning laios' character/intentions as an adventurer. I cannot emphasize enough that I am employing a neutral definition of jealousy here--it seems kabru is jealous of the freedom to not care the way laios does not care about the fate of the island. this isn't to say laios doesn't care about humans, he does, but he seems so singleminded compared to kabru esp in ch 76. kabru sees laios going to the literal end of the world to save his sister. laios gets to be human selfishly, kind-natured but ultimately self-prioritizing.

kabru correctly assesses motives (besides his own maybe). falin said she’d do anything to protect laios and marcille. laios has been socially rejected by people his whole life, and at first, he only cares about his sister and monsters. kabru has survived horror but only by accident… he doesn't agree with their pov and more importantly, it doesn’t exactly compute with him. the toudens are wholly unaware of their impact, which does not sit well with kabru at all, who understands the impact of negligence better than anyone else, esp how it ends up harming the less fortunate and extremely marginalized in society. it's reminiscent of the age-old trolley problem. while kabru has been the victim of senseless pain, I suspect kabru can’t yet make sense of senseless love. he gets to look down at their cause and call it selfish because it directly contradicts his lived experience.

kabru is an ethicist with a heroic streak

it's easy to glean that kabru wants to be the hero utaya should’ve had. while he's hardcore and intense, but not paranoid enough to do something rash. he uses violence as a means of achieving peace. he's self-aware enough to know his skill limits, which seems rational at a glance but the pressure he puts on himself suggests he views himself as inadequate until he achieves his goal. the races of humans are so split up and he sees that this is a matter of power first and foremost.

with the canaries, kabru submits to political pageantry to make a separate case for innocent people. senseless tragedy is unforgivable, but so is the "too little too late" reality of the canary system. he takes on the impossible task of rallying people together to save the dungeon. one read is that he's saving his childhood self from trauma perhaps by saving those like him… he's wishing someone did something before it got bad, wondering why nobody intervened when they had every opportunity to step in. it’s deeper than a sense of duty or fairness, this is about betrayal and retribution.

throughout his life, kabru struggles with the material inequity and limits of love. the human population is fundamentally segmented into a hierarchy due to lifespans and access to power/resources. his mother was the only one who loved him in utaya and she was ostracized because of his appearance and then she was killed due to senseless tragedy. his frustration with the elves encapsulates this idea perfectly, because he is aware of of the limits of their empathy as a long-lived race and adjusts his strategy and rhetoric accordingly. I think milsiril’s love for kabru is genuine, but still infantilizing and smothering due to the racial imbalance. this continues to inform his politics, as he views their perception of short-lived races with contempt. the worst offense is that their bigotry is nonsensical, meaning their hearts cannot be reasoned with.

dungeon meshi is a story about power and politics, yes, but genuine love and acceptance are the catalysts of change and equality. the "invisible gulf" that marcille is referring to is the inability to view other races with love and care. such is the essence of camaraderie. kabru's backstory, family history, and beliefs/motivations raise two important questions for me: who gets to be loved enough to survive, and then to thrive?

kabru is a monster

the emphasis on distinguishing between humans and monsters is quite interesting too. of all sentient beings, who qualifies as worthy of "human" treatment? who deserves empathy and acceptance? kabru seeks these answers to fix the world, but also to justify his place in it.

kabru's lack of self-worth is evident here, but what’s more interesting is he knows many humans suffer worse fates than some monsters. the dehumanization/neglect of fellow humans does not compute, if the premise is humans are superior to demi-humans/non-humans because mutual empathy and understanding. he clings to the superiority of humanity as an appeal to ethos to those in power despite what he might actually believe about himself. to kabru, the true injustice is that humans won’t even save “inferior” humans despite being the same. his unclear heritage manifests as guilt, as he feels directly responsible for his mother's suffering because he is monstrous. then here comes laios, a human who somehow can find it in himself to love monsters.

kabru doesn’t want laios to love him, per se, but laios’ love for monsters and for falin reveals life-altering possibilities for kabru: there is a world where someone could love him even if he were a monster. there is a world where somebody would go to extreme measures just to save him. kabru does not know the extent of laios' trauma but recognizes a sort of kindred spirit but inverse. taking off the ship goggles here--it has less to do with laios specifically, and more to do with what his beliefs/abilities represent for the trajectory of the world (because kabru studies how beliefs/abilities manifest into material reality, after all)

kabru is seeking the power of love

in a different story, kabru would be laios’ archnemesis. they would have a disastrous battle of opposing worldviews in their struggle for dominion. kabru has every right to want to take laios out bc while his affinity for monsters is sympathetic and even charming, it is still a natural threat… kabru has the true hero pathology. he believes he only deserves to live if he can save people for a variety of reasons/traumas. he should do whatever it takes to exterminate laios. but the expectation is subverted in chapter 76 bc we see kabru’s curiosity and ongoing quest for understanding win over his worst fears.

I feel like I’ve been projecting a lot but bear with me... a huge part of kabru’s character is him trying to figure out how to matter to people, or figuring out why people matter to others in general. it’s not to say he doesn’t matter to his friends or milsiril, but why else would he bother with all the manipulative people-pleasing? it would be less meaningful if he had ulterior motives like greed or power, but he plays into people's expectations/desires for a disastrously noble cause. he’s still actively living in his trauma as a deeply traumatized adult. it’s pure serendipity that laios can send him right back to his past and then pull him right out again. I don't think it's crazy to say kabru (correctly) projects a lot of shit on laios bc he doesn’t know how to deal with those injustices and barriers between people himself.

this is also why I believe kabru's beef with laios is as personal as it is strategic. we have to consider the trajectories of their character arcs (their big missions, respectively) in relation to one another as foils. if laios' love for falin can move mountains and do impossible things, kabru is subconsciously drawn to the magnitude of that love like a magnet. his response to cognitive dissonance is quite remarkable as well. at the root of his unbelievable capacity for understanding and curiosity is the deep wound of being unloved and unprotected. kabru does not avoid or run away from his fears, he quite literally keeps running toward them and follows it down to hell. he wants to identify the true source of his deepest wound.

to me, this omake connects his childhood curiosity to his search for love, almost as to ask “is there enough room for me to be loved?" and the same can be said for marcille's character arc/ backstory. her biracial heritage has caused her great existential pain and social isolation.

in dungeon meshi, the issues of protection and justice continue to be interpreted through love. if kabru were to go back in time and save utaya, he would’ve needed incomprehensible magic, a supernatural power to save himself, his mother, his hometown. in contrast, laios' mission to save falin is just one manifestation of the surreality of love, all of the impossibilities it permits. the touden party wade through invisible gulfs to save falin, but also each other. kabru doesn’t hate their story, he just can’t fathom it yet.

kabru is a skilled strategist and communicator. and does not listen to his heart or body until he’s absolutely forced to do it. he has insane goals and expectations for himself and will go to great measures for those goals. as cerebral and cold as he might seem, it’s critical to understand that his character arc is about love too. in my opinion, it’s almost as if he’s trying to change his reality in hopes of finding love. my favorite thing about kabru is that he has all the narrative makings of the perfect misunderstood villain who self-destructs at the end of the story. but kabru is too smart for that, too focused on the big-picture impacts and the historical trajectory of the cause. instead, kabru finds the wherewithal to stand down once he understands that laios is capable of loving humanity like he does, or that he could help him see the value in humanity at all.

to love is to understand, and then to surrender.

[laesas]

its funny how different opinions can be lol. I love between us. yes, the pacing could be better (they should already be together at this point) and the sidecouples take to much screentime. thought i still love it. The deep characters, the story, winteam, the chemie, bounprem...im already sad, that its gonna end soon.

Sure!

I still do enjoy aspects of it, enough that I'm definitely going to finish the show, and I agree that WinTeam have compelling chemistry and an interesting underlying storyline (albeit paced incorrectly). I never claimed to be offering an objective opinion on whether or not people should watch or enjoy the show.

I usually come out of even my most dearly beloved shows with some thoughts on script or pacing or tonal shifts or screentime balance between characters. I have opinions literally nobody asked for on details like framing and visual motifs even down to really minute details like camera movements or lens choices! It's my day-job to think about that kind of thing!

Maybe it's a fundamental difference in the way I consume media as someone working behind the scenes - it's no more or less correct than watching a show just to watch and enjoy it, rather than pick apart and analyse it - just different! And we've clearly come to slightly different conclusions on the show based on that.

Ultimately I'm just one person with one perspective. I'm glad that it's still enjoyable for you!

[error-pleaseleaveamessage-error]

I love your art! o(*￣▽￣*)ブ

A bunch of sketches with Jay "I'll never leave my friends sad" Walker, also based on headcanons by @error-pleaseleaveamessage-error

love your hcs, friend 🙏✨

[perseidlion]

Streaming in Kaos

Well, it happened. I can't say that I'm surprised that KAOS has been cancelled by Netflix. I am a little surprised at the speed at which it was axed. Only a month after it aired, and it's already gone.

That has me wondering if the decision to cancel was made before the show even aired. We have to remember that marketing is the biggest cost after production. If the Netflix brass looked at the show and either decided (through audience testing, AI stuff or just their own biases) that it wasn't going to be a Stranger Things-level hit, they probably chose at that moment to slash its marketing budget.

That meant there was pretty much no way that KAOS was ever going to hit the metrics Netflix required of it to get a season 2.

What makes me so angry about this (other than the survival of a show relying on peoples' biases or AI) is that it becomes a self-fulfilling prophecy. If you decide before a show is ever going to air that it won't be a success, then it probably won't be. If you rely on metrics and algorithms and AI to analyze art, you will never let something surprise you. You'll never let it grow. You'll never nurture the cult hits of the future or the next franchise.

Netflix desperately needs people behind the scenes that believe in stories and potential over metrics. Nothing except the same old predictable dreck is ever going to be allowed to survive if you don't believe in the stories you're telling.

The networks and streamers have a huge problem on their hands. They need big hits and to build the franchises of the future to sustain their current model (which is horribly broken.) But people have franchise fatigue and aren't showing up for known IPs like they used to. The fact that Marvel content is definitely not a sure thing anymore is a huge canary in the coal mine for franchise fatigue. People aren't just tired of Marvel, they're tired of the existing worlds both on the big screen and the small one. Audiences are hungry for something new.

It is telling that the most successful Marvel properties of the last few years have been the ones that do something different. Marvel is smart to finally pull out The X-Men because that is a breath of fresh air and something people are hungry to see more of.

There's pretty much no one behind the scenes (except for maybe AMC building The Immortal Universe) that is committing to really taking the time to build these new worlds. Marvel built the MCU by playing the long game. That paid dividends for a solid decade even if it's dropping off now. That empire was built not with nostalgia for existing IP (don't forget the MCU was built with B and C tier heroes) but with patience. Marvel itself seems to have forgotten this in recent years.

Aside from that, I think people really want stories that aren't connected to a billion other things. That takes commitment on the part of the audience to follow and to get attached to. People WANT three to five excellent seasons of a show that tells its own story and isn't leaving threads out there for a dozen spinoffs. We're craving tight storytelling.

KAOS could have been that. Dead Boy Detectives could have been that. So could Our Flag Means Death, Lockwood and Co, Shadow and Bone, The Dark Crystal: Age of Resistance, Willow, and a dozen other shows with great potential or were excellent out of the gate.

If you look at past metrics, you only learn what people used to like, not what they want now. People are notoriously bad about articulating what they want, but boy do they know it when they see it. Networks have to go back to having a dozen moderate successes instead of constantly churning through one-season shows that get axed and pissing off the people who did like it in a hamfisted attempt to stumble on the next big thing.

The networks desperately need to go back to believing in their shows. Instead, they keep cutting them off at the knees before they ever get a chance because some algorithm told them the numbers weren't there.

[whereserpentswalk]

People don't realize how liminal it is to be a time traveler. How you don't ever really feel like you're in the time you are. Even when you're in your own time, everything is off, your coat was something you bought in interwar France, the book you're reading on the train is from a bookstore you had to visit in Victorian London, even your necklace was given to you by a Neolithic shaman, from a culture the rest of the world can never know. You find yourself acting strange even when in the present, much less in the past you have to work in.

You remember meeting a eunuch in 10th century China, and having him be one of the only people smart and observant enough to realize you were from a diffrent time. You could talk honestly with him, though still you couldn't reveal too much about your time. And it was still so strange hearing him talk casually about work and mention plotting assassinations. You're not allowed to but you still visit him sometimes.

You remember that the few times you were allowed to tell someone everything it was tragic. You knew a young woman who lived in Pompeii, who you had gotten close to, a few days before she would inevitably die. On your last day there you looked into her eyes, knowing soon they'd be stone and ash, that the beauty of her hair would be washed away by burning magma. And you hugged her, and told her that you wanted her to be safe, and told her she was wonderful and that you wanted her to be comfortable and happy. And you let her tongue know the joy of 21st century chocolate, and her eyes see the beauty of animation, knowing she deserved to have those joys, knowing it wouldn't matter soon. And you hugged her the last time, and told her she deserved happiness. And when you left without taking her it was like you were killing her yourself.

You want to take home everyone you're attached to. There's a college student you befriended in eighteen fifties Boston. And you can't help but see him try to solve problems you know humanity is centuries away from solving. And you just want to tell him. And it's not just that, the way he talked about the books and plays he likes, his sense of humor. There's so many people you want him to meet.

You feel the same way about a young woman you met on a viking age longship. She tells stories to her fellow warriors and traders, stories that will never fully get written down, stories that she tells so uniquely and so well. She has so many great ideas. You want so dearly to take her to somewhere she can share her stories, or where she can take classes with other writers, where she can be somewhere safe instead of being out at sea. She'll talk about wanting to be able to do something, or meet people, and you know you're so close to being able to take her, but you never can, unless she accidently finds out way too much then you can't.

You remember the longship that you met that young storyteller on. You were there before, two years ago for you, ten years later for the people on it. The young woman who told you stories wasn't there ten years later, you had been told why then but you only realize now, her uncle, who ran the ship, had been one of the first people to convert to Christianity in his nation. He killed her, either for not converting or for sleeping with women, you're not sure, but he killed her, and bragged about it when you met him ten years later.

You talk to the storyteller on the longship, ask her about the myths you're there to ask her about, the myths that she loves to tell. You look into her eyes knowing it's probably less then a year until her uncle takes her life. You ask her if you think that those who die of murder go to Valhalla. She tells you she hopes not, she doesn't see Valhalla as a gift but as a duty, she hopes for herself to go to Hel, where she wouldn't have to fight anymore. You slip and admit you're talking about her, telling her that you hope that's where she goes when she's killed. You hope to yourself you'll be forced to take her to the twenty first century, you're tempted even to make it worse, you want to have ruined her enough to be able to save her.

[meanbossart]

im so curious-- how well does DUDrow get on with the other companions? I've only seen your art and going off that I feel like: he gets along with Shadowheart, Gale I think he borderline cant stand, and Wyll/Lae'zel/Karlach I have no idea how he'd feel about them but id love to know!

So, funfact, because I was not familiar with these kinds of games at the time I played BG3, I practically stuck with the same exact party the entire playthrough. I distinctly remember swapping Wyll in for Astarion once at the end of act 2 because I thought he NEEDED to be there to find Mizora, and I replaced Gale with Karlach when I went to kill Gortash. Otherwise... It was pretty much always just DU drow, Shadowheart, Astarion and Gale. I did this because they were the characters I liked most, so I wanted to see all they had to offer.

Anyways, I mention this because it reflects how DU drow related to everyone - which is to say that he didn't. He picked his favorites (two because he liked them, one because he has fireball) and didn't get particularly close to anyone else.

BUT, there were definitely notable dynamics!

Lae'zel: She's dead. He killed her night 3 or something. Before that he thought her annoyingly demanding and over the top. I don't think DU drow even remembers her by the end of the game.

Gale: Just to add to your original observation, Gale and DU drow have a little bit of history. Gale tries, for about half of the campaign, to pursue him romantically. DU drow keeps turning him down and is either misinterpreted or ignored, and by the time Gale does give up on him their relationship has completely soured to the point where they are constantly shooting daggers at each other. (this reflects a romance bug I got in my first run, except I didn't realize it was a bug. Either way I think its more interesting storytelling than the intended experience.)

Wyll: DU drow was profoundly frustrated by Wyll every step of the way. He found him to be incredibly naive and a bit delusional in his pursuit for heroism, and could never relate to Wyll's perspective or choices - the few he made for himself, at least. They definitely had the least in common and DU drow avoided interacting with him most of the time.

Halsin: He didn't care for Halsin much. He was vaguely helpful but by the time they got to the shadow-cursed lands DU drow had the impression he'd only been dragged here to help him clear his conscience, which he didn't appreciate. Also, he couldn't bear to have someone in camp be taller than himself. Halsin was left behind in Act 2.

Jaheira: DU drow fucking loves Jaheira. They bickered and borderline insulted each other and had a great time doing it. He can respect anyone who will call him a monster, threaten to murder him in his sleep, and make light fun at him the next day. It helps that she's hot, also.

Minsc: Weird hamster man. Ocasionally rendered him speechless. Puzzling human being.

Karlach: He didn't get Karlach, but he was often amused by her and curious enough to want to hear what she had to say. There was a similar issue here as Wyll's where he just couldn't relate to her enough to have much to discuss, but Karlach at least had an edge to her that made her far better company. They got along pretty well when the topic wasn't serious, but when it came to the problems she actually faced their perspectives shifted significantly. DU drow thought everything could be fixed, that accepting her own demise was a cowardly thing to do - and as they approached the end, and she asked him if he would stay with her when she died, he thought she was weak. I don't know if he ever discusses it with anyone, but he feels guilty about her death to this day and sees it as personal failure.