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

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

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

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

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


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

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

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

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

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