Yeah that’s what I’d say is the “evil” ending, though your point is correct…I liked that his endings are morally ambiguous either way you choose (unlike Shadowheart, whose endings are pretty clearly “good”/“evil”).

“Why don’t I strap on my strength helmet and squeeze down into a strength cannon and fire off into Strengthland where strength grows on strengthees???”

Long passant

I will say it’s a bit more complicated than that…

If you can stomach/embrace the evil it opens up some fun/interesting Act 3 stuff. The Durge arc and the “full-send evil” endings for Astarion and Shadynasty specifically were neat to see given how not-evil they can turn out in a “good” playthrough.

I can highly recommend

for the true unhinged, depressing ending.

Make sure to select the “piss yourself” option when the opportunity arises

All Star with The Sickness is, for me, the perfect mashup, to the point where I can’t separate the songs now.

Honorable mention to any of the many Thomas the Tank Engine mashups (like this one, for example).

Don’t call him Mr. Scorpion. His name is Mr. Scorpio, but don’t call him that either.

Okay, well…filibuster

AMoL waves from c/wetlanderhumor

“And people worship this cereal?”

“…in a way”

actual footage of a modernized smothered mate

Very nice — thanks!

What book is this? Does it have more of these types of guides throughout?

Verily

I’ve also done 0 research, but I assume the name refers to the opening lines of a pretty famous poem, which is using “ye” to address a group of people; basically the poem is saying “go get some while you’re young and hot”

Thank you!

Looks outstanding! Do you have a recipe??

First panel beautifully encapsulates Troi’s character

If you pretend the song is in g-minor (which has a B-flat) those chords make a lot more sense: Eb becomes the bVI chord (super common in minor-key songs), and Bb becomes the bIII (also pretty common — what’s known as the relative major of g-minor). The Eb also serves the function of IV / bIII here — basically it just acts like a pivot between the original g key and its relative major (Bb); note that Eb is the bVI chord in the key of g minor, but also the IV chord in the key of Bb. D7 would be the V chord in G major or minor, so it doesn’t sound especially out of place like the others do, and leads the progression nicely back to G.

The reason the middle two chords sound especially interesting here is that the song is not in g minor — instead of having that flatted third in the chord (i.e. Bb) it has the major third (B natural), which creates a neat half-step dissonance when played next to chords that do have it flatted (like Eb and Bb). G minor has its own chords separate from those of G major due to how a g minor scale is constructed; borrowing from a key’s parallel major/minor can yield some really interesting chord progressions/sounds (such as the ones you’ve found here).

My theory is a bit rusty, so hopefully that all is accurate and makes sense!

I’ve had good experiences with warmoth and stewmac — neither is particularly cheap, but they’ve got good parts. Ive also just bought hardware outright from Fender’s site tbh