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Astarion's past as a magistrate and Astarion's scenes from EA.

“Who needs morals when you have good hair?” Astarion.

“Two hundred years ago, Astarion was a corrupt elite of Baldur’s Gate with a taste for power and a hunger for eternal life. It wasn’t long before these desires became a nightmarish reality. Transformed into the vampire spawn of a sadistic master, Astarion was kept as a slave to lure fresh noble blood to the palace of Cazador – all while subsisting on the putrid blood of rats. Astarion’s design is inspired by his story of indentured servitude and told through scar tissue and rogue garb. His leather armour still boasts the fine golden embroidery of high society, an aesthetic inspired by 18th-century libertines and European rock stars of the early ‘90s – two subcultures that echo Astarion’s desire to live a life without restraint. But beneath this costume is a constant reminder of the centuries spent enslaved, in the form of a poem carved into his flesh by his vampire lord.”

The first lines of the artbook tell us that our beloved vampire in the past belonged to the corrupt elite of Baldur and craved power and eternal life. And his desire for eternal life was fulfilled, but in a horrible, twisted form - in the form of his worst nightmare - Astarion became the spawn of the sadistic Kazador. In the final of Sun King (Astarion Origins), Astarion recalls how he judged the fates of others in the past. Now in the game we can learn very little about Astarion's past, although it is known that Astarion was a Magistrate. And references to his past are present in several scenes:

References to Astarion's Past as a Magistrate - BG3

The first mention of Astarion being a magistrate we can hear is if we ask Astarion to tell us about himself (“Tell me about yourself”), Astarion replies, “Oh, what's to tell? I'm a magistrate back in the city - it's all rather tedious.”

After a closer encounter (after the bite), we can also ask: “You must remember your life before that?” “I was a magistrate, working to keep the peace in Baldur's Gate. Imprisoning trouble makers, that kind of thing.” And he adds bitterly: “I can't remember much, truth be told. Centuries of torment will do that to you.”

And if you imagine what Astarion experienced during his years of slavery to Cazador, you can understand, why his past life became something distant for him, why many of his memories are lost. Also according to DnD lore, once a person is converted to a spawn, some of the memory of a person's past life is erased. That said, it's hard to say with that, how much Astarion even wants to tell Tav about his past. “Why do you insist on exhuming the past?” - Astarion sounds tense in this line, somewhat angry, he is distrustful and suspicious.

Three lines in the game in which Astarion talks about what happened to him on that fateful night when Cazador found him:

"I was attacked. A gang of vagrants, a tribe of wandering 'Gur', took issue with a ruling I'd made.”

“They beat me to death's door when Cazador appeared. He chased them off and offered to save me. To give me eternal life."

"Not him, no. A gang of thugs attacked me, angry about a ruling that I'd handed down as magistrate."

The reason the Gur gang attacked and nearly killed Astarion was because of his decision that Astarion made as a magistrate. The reason why the elf noble magistrate was in unsafe parts of the city, where he could be attacked by the Gur gang (this could hardly happen in the Upper City or in a safe neighborhood guarded by guards), and why Cazador happened to be around at the right time and place, is left out of the picture. Astarion also mentions that he had his own “history” with the Gur: “The point is I have history with these barbarians. Cazador's sending a message.” And most likely, this “story” with Gur had to do with the very decision that Astarion once made as a magistrate, and that caused Gur to hate him. Cazador may well have sent him such a “message” as well, and Astarion thinks so. (“My old master sent that vagabond after me.”) He is confident that more thugs will come after him, and we learn with him much later (when we meet Gur in Act 3) that the Gur are looking for their children.

“A Selunite necklace, if I'm any judge. And I am.” - Astarion's banter when finding the Selunite Necklace. Another reference to his past. Doing Wyll's quest (to find Ansur) you can get Astarion's opinion as a judge when we solve the “punishing the thief” puzzle.

In Astarion Origins, during his conversation with Wyll, Astarion also tells Wyll about his past as a magistrate (“I was a magistrate once, I could see if you missed any loopholes in your contract.”), offering to help Wyll find some loopholes in his contract with Mizora.

By the way, this shows that Astarion's legal experience did not disappear anywhere and remained with him. And Astarion had definitely studied the terms of the deal with Mephistopheles regarding the Ascension ritual, which was so important to him (Raphael's tale, the description of the ritual in The Necromancy of Thay, the Vellioth's scrolls - he had three sources of information during this time), and he knew exactly what he was doing. Those who claim that “Astarion found out about the ritual five minutes before it started”, or that Astarion is a silly scared kid, who just this second suddenly decided to do the ritual out of fear, simply don't know the game's plot well.

Final of the Sun King (Astarion Origins). Narrator's line:

“It’s been a long time since you’ve stood in judgement over others, holding their lives in your hands. But after everything you’ve done, doesn’t this feel right?”

In this finale, Astarion seems to reclaim his past self, only becoming much stronger, more powerful, and more majestic… His story began as a magistrate, he aspired to the top, fell, went through hell, broke free, took revenge, and rose again, only now to a much higher peak. This looks like the fulfillment of his wishes and the victorious conclusion of his story. And Ascended Astarion in the epilogue also says, “I'm who I always wanted to be. I have everything I ever wanted.”

In Astarion's Character Sheets, his backstory is told as follows:

“Astarion prowled the night as a vampire spawn for centuries, forced to follow the orders of his sadistic Master, Cazador: Seduce every fool with a pulse, and lure them back to my lair. Free for now, he will do anything to keep his life in the light. He can see but one way to ensure his liberty for good: become many times more powerful than his old abuser even could dream of being.

His body is forever tainted by the intricate, patterned scarring Cazador carved upon his back, and the elder vampire seems set on sending waves of hunters seeking to capture his lost spawn.”

Personal Traits:

“Astarion drips with charm before everyone he meets. How much of it is an act, even he himself isn’t sure of any more”.

Ideals:

“Freedom almost tastes finer than blood, and Astarion will do everything he can to secure it”.

Flaws:

“While he has hoiled seduction down to a fine art, and can quickly win over almost anyone, keeping and trusting a new-found ally is another challenge altogether”.

Sure, I would have liked to see more of Astarion's backstory revealed within the game, but that's not going to be realized. For me, as a fan of this game, the biggest regret was the Astarion scenes from EA, which were made and were in EA, but they were not included in the game after release, now you can only see some of Astarion's banters from those scenes. For example, Astarion's nightmare can now only be seen in his Origin, and in EA we could talk to him about it. In those scenes Astarion was revealing himself wonderfully, he was bright, expressive and very emotional. But, fortunately, the authors of youtube channels, who went through the game in EA, saved his scenes, and we can still admire Astarion in them and have a deeper look at his character.

Astarion about the "little death" (Early Access patch 4):

“Astarion often uttered the phrase "Little death" and I started looking for information about this expression and I came across a quote in which for me it is still the essence of the relationship with him.

The French expression for orgasm, la petite mort ("little death"), implies an orgasmic loss of oneself that destroys the pain of separateness — the lonely Self disappears into the resulting We." © AlexKhodja (channel Arts&Games).

Also, the “little death” scene complements Astarion's line at the Tiefling party: “Not at all! I was hoping for companionship and - well, maybe a little death. Figuratively speaking.”

“Who needs morals when you have good hair?” (Astarion and Gale monster hunter conversation):

Astarion's comment on Goblin Sazza:

Astarion doesn't suffer weak minded fools - (Patch 4) Fisherman Conversation:

"Sweetie, you can't murder 'vermin'":

Astarion wants to stay and party with the goblins! - Patch 4 Baldur's Gate 3 Early Access:

I managed to catch a shot of Astarion looking frustrated at having to search for some druid instead of having fun at the party:

And then those satisfied, sly eyes:

Astarion about slaves of myconids [Baldur's Gate 3] [Early Access] [Patch 5]:

Astarion Comments on Mayrina's Situation (Astarion just has an adorable laugh in this scene):

A collection of Astarion's heavy emotional reactions - when he's angry or scared, but it's so strong, it's just impossible to watch indifferently:

It's heart wrenching and makes me want to comfort him as soon as possible, but it's such a strong and impressive range of emotions that it just knocks you off your feet. It's hard to understand why most of these dialog lines were removed in the release version. Neil played incredibly well, Astarion is so alive that watching these scenes you feel fear, when you see his fear, and pain for him, when you see his pure rage. When Tav insults Astarion, he responds (2.51): “There has to be a way you know what, separates us from animals, - choice. I choose to travel with you, a dog would do it on instant to fulfill, a need. Disrespect me again and I won't choose to kill you. I'll do it on instinct to fulfill my need to hear you scream”. And what a huge contrast to that practically devastated, emotionally repressed Astarion, who on the “path of redemption” in the graveyard scene dutifully accepts insults from his “partner,” replying, “I will endeavor to please” or “If it has, it might be for the best” with his head down.

Astarion was a deeply traumatized person, but he was strong, and he knew how to snap back. And he could bite. He was not one to give up easily. And it was all the more valuable to earn his trust and the opportunity for Tav to become a close person to him. It's a pity, if Larian decided to “soften” such a magnificently evil character by not including his strong and vivid emotional reactions in the release version. It would have been much better, in my opinion, to reveal his softer side by enriching the roleplay and adding those lines and actions for Tav that would have helped Astarion feel better and start to trust Tav more, an emotional, multifaceted and complex character is a true diamond for any game, capable of making you fall in love and bond with him. Of course, they did a lot of good things in the release version too, in particular I really like Astarion's appearance in the game, all the little wrinkles on his face that make him even more alive and real.

I think Astarion's EA scenes are an important part of his story too, and thanks for having them. I'd certainly like to see a director's version or a gold edition that includes them, but it's unlikely to come true. These scenes added and deepened Astarion's character for me in many ways, and allowed me to understand him even better.

A few months ago, I created a new Tav, Evara, to go specially with Ascended Astarion. I didn’t think but I really fell in love with their story and I like this couple as much as the one formed by Lyra and Spawn Astarion.

I wanted to do something simple and cute for my first fanart of them, referring to the parallel made in the game between Astarion and red dragons. They are known for wanting more and more, being pretentious, believing themselves above all forms of life and to watch jealously over their treasure... Doesn’t that remind you of a certain vampire Lord ? 🙃

The fact that Astarion calls his love « my treasure » is not a coincidence and I love to see how the developers have really thought of everything ! So here is the vampire ascendant and his most precious treasure... I pity anyone who would try to steal it 🫣

For dragons are fire made flesh, and fire is power.

The idea of creating a coat of arms and heraldic symbols for Ascended Astarion has been growing in my mind for quite some time. Every self-respecting vampire lord should have their own emblem — especially someone as ambitious as Ascended Astarion.

At the center of the entire composition, I envision the sun — a crucial symbol that runs through his entire narrative. He ascends and no longer fears the daylight, transforming the vampire’s greatest curse into a triumph. He proclaims himself the Sun King, and in the epilogue, he holds the title of Sunwalking Regent. To make the solar disc the emblem of a vampire is truly bold, provocative — and entirely in his character.

Astarion: This is it. The hopeless dream dreamt by all of my kind.

Against the backdrop of the sun — a red dragon. In the finale of the game, Astarion wears a magnificent outfit adorned with an embroidered red dragon, and to me, this image feels deeply symbolic. The dragon is a representation of power, destructive force, and ambition.

I also want to mention legends from A Song of Ice and Fire, like this one:

«A trader from Qarth once told me that dragons came from the moon,» blond Doreah said as she warmed a towel over the fire.

Silvery-wet hair tumbled across her eyes as Dany turned her head, curious. «The moon?»

«He told me the moon was an egg, Khaleesi,» the Lysene girl said. «Once there were two moons in the sky, but one wandered too close to the sun and cracked from the heat. A thousand thousand dragons poured forth, and drank the fire of the sun. That is why dragons breathe flame. One day the other moon will kiss the sun too, and then it will crack and the dragons will return.»

The evil chromatic dragons in D&D are primarily united by their greed and egocentrism. They have an insatiable thirst for wealth, which permeates all their actions, plans, and manipulations. These dragons are convinced that worldly treasures rightfully belong to them, and therefore they claim others' riches, disregarding all others whom they consider guilty of "stealing" what is theirs. Dragons are not interested in commerce and do not seek to use their wealth for trade; they accumulate treasures solely for the sake of possession.

Every chromatic dragon considers itself the most powerful being, worthy of ruling over all. A central element of each such dragon’s worldview is the firm belief in their inherent right to dominate and control.

Red dragons are among the most arrogant and the most greedy for treasure:

«No other dragon comes close to the arrogance of the red dragon. These creatures see themselves as kings and emperors, and view the rest of dragonkind as inferior. Believing that they are chosen by Tiamat to rule in her name, red dragons consider the world and every creature in it as theirs to command.» © Monster Manual (2014)

It's nice to see this symbol — recognizable, almost archetypal — appear on the clothing of my favorite character in the game's finale.

And you, consorts… how do you envision Lord Astarion's coat of arms? What symbols, in your opinion, should be on his banner, and what motto?

Is there anything you can share there? He loves wool and socks or something.

Newbon: Yeah. There’s a thing where Astarion always checks his nails when he is trying to just dominate people. He dismisses them with a head turn, usually to the left. He does this to put people in their place, to make them acutely aware that he’s in control.

Actually, one thing I can tell you—the base pose that he has, which is this very upward movement, arms open—that was something that we experimented with. That was actually a combination of myself and Josh Weeden, who’s one of the directors on the game. We came up with that together. They wanted a unique base pose. The footing is different from everybody else’s. But then I added this sort of open arms up and his head up, looking down his nose at everybody.

So the reason that his head stands like this is a psychological thing. He thinks everybody else is beneath him, so he looks down his nose, which is why the head is slightly angular. That is a very particular habitual choice that we made to inform more about the character. Literally, I look down my nose, and that’s why his stance is like that.

I think there are a couple of other characters that have unique base poses, but most have the same base pose. He’s one of the unique ones.

Neil Newbon on Ascended Astarion

Neil: I do love the fact that I got to create kind of two characters in one.

Blue Owl Medic: I was just thinking that. Yeah, you did.

Neil: So now that the game has come out and the whole thing, we can talk a little bit more freely about the game. No real spoilers, folks, because obviously people are still playing through it, which is amazing, including me. But there is an ascended Astarion, which people probably know, as well as an unascended Astarion. I'm not going to go into details of why, although it is all over the internet, but anyway.

But one of the fun things that I got to do with the directors and the writer as well, with Stephen, and also the other writers that contributed towards Astarion, [is that they] wrote this ascended storyline. And so, when I came across that, I realized that 'Oh, his voice probably changes as well, because his whole status changes and his whole situation changes and his power changes.' So I got to do something else, because that would also be an easy way to switch between one and the other.

And so I decided that, well, I've always talked about Astarion being very theatrical. So what if Astarion's unascended spawn is theatrical, and ascended Astarion is operatic, and I use that as a sort of launchpad. So that one is theatre, one is opera. So the two are the same kind of things, but essentially… Do you know what I mean? It's like that kind of thing.

I offered that up to the directors and they really liked it. Kirsty Gilmore was the first person who I tried it with. I think it was Kirsty Gilmore, who is an amazing director. I'm pretty sure it was her session I did the first Lord Astarion and we set the tone there. And that was really cool.

BOM: And I don't know if that was your choice, but he also holds himself differently.

Neil: Yes, he does, he definitely holds himself differently.

BOM: He stands way more upright, his chest is a little more out

Neil: Yes, that's status. That's all Laban work. We're just using completely different status shift changes as well. So whereas he has a lot of flow and all that kind of stuff and it's theatrical and distracting--it's always 'look over here and don't see how I really feel' with spawn Astarion.

With Lord Astarion, we talked a lot about the idea that the cover is now off completely. So that you see him at his most terrible, and it's completely honest and he doesn't have to pretend anymore. So he loses a lot of the flamboyance and the fun of the theatricality, which is all a distraction anyway. That's all distraction so you don't see how he's hurt and damaged and his vulnerability. Lord Astarion doesn't need that anymore. So we just thought, okay, now *mimics taking off a mask* it's off. He doesn't need to pretend, he doesn't need to do too much. It's all about the status and that kind of stuff.

It was a really fun experience to take a character I've been doing for a long time and then flip it. And that was, again, brilliant writing by Larian, brilliant storytelling by them all and brilliant ideas. So yeah, it was really fun.

--from Neil's February 1, 2024 twitch stream

Neil on Ascended Astarion's Laugh

Neil: I didn't ever really improvise anything. I'd improvise how I'd say the line obviously, but I didn't improvise any words really for Astarion. There's hardly anything that I've changed, maybe like one thing, just because it didn't quite work. So largely all the script is as scripted. I did the lines as scripted.

But there was definitely a moment I think I tried to squeeze in muahahas and things like that. *laughs* Like what if I can get away with a cackling laugh that kind of sounds like a muahaha?

Oh, he has a new laugh, I didn't tell you that. Ascended Astarion has a new laugh. Do you want to hear it?

Blue Owl Medic: I feel like it's more true to the character.

Neil: But do you want to hear the actual Ascended Astarion's laugh? I don't know if you picked up on it on your playthrough.

BOM: Yes. No, I haven't actually gotten there.

Neil: I changed the laugh. So, the laugh with Unascended is *high-pitched giggling laugh*. It's all like high and lilting and trill and shrill sort of up and piercing. And then Lord Astarion is *laughs haughtily* Like that. So I dropped it. So he goes, "Oh dear. Well that's not very good, is it. *laughs*" It's all like down here. *points at throat* And low and short as well. So it was really like--it was fun. You'll see it. So there's a difference.

BOM: It's like a wealthy laugh.

Neil: It's a wealthy laugh. It's an of-means laugh.

BOM: Aristocratic, I see somebody say.

Neil: It's a better-than-you laugh. 'I have more money than you. *laughs*'

BOM: 'I have a palace. What do you have? A camp? Fuck you.'

Neil: 'I have a castle. *laughs* Don't you have one? Sorry, that's sad for you.' Yeah, like that.

--from Neil's February 1, 2024 twitch stream

This scene has always broken my heart, but the mod helped a little — at least now I can comfort him.

Ascended Astarion reaction to “I'll do it. I'll become a mind flayer”.

One of the interesting moments in Astarion's Ascension arc – in scriptural and cinematic point of view - is when Tav informs Astarion that they is not afraid of becoming an illithid.

(for Astarion, illithids are “it”. Justified by lore they lose all personality when they become one, except in the rarest of cases, it's Illithid roulette where the chance is far from 50\50)

Astarion clearly expresses that he doesn't want this and partly in an ironic (sassy) way.

And then this happens:

NodeContext: Trying to be assertive, but faltering

He looks at Tav straight in the eye, but then he thinks for a second, “if not… If it's unavoidable”. puppystaron

A whole body language here is just as brilliantly done.

There are many gestures in this scene before these two phrases, he suggests using the hammer with a pointing gesture “look, we have this other option.” But I'll focus my attention on these two. In the beginning Astarion “indicates”, he wants to show authority and say “no” clearly, then he “crosses out” in the air with his index finger such a suggestion, clenching the fist of his other hand. He's also outraged - he waves his arms around - no, no this all won't happen. That's his emotion. Then he realizes that it is simply impossible to say “no” to this, it is necessary to solve this problem, Astarion opens his palms as if to say “wait”, “then we will think”. Here, too, he wanted to be confident, assertive. And this is his faltering moment, his left hand clenches a couple times for seconds. Realizing that he's confused he wants to pull himself together, clenching both fists again already from his desire to be firmer, confident.

“We'll figure it out. I am sure”.

Next part main analytics of what he's talking about and how deep it is.

He's faltering exactly on the word “I”. Maybe it's here because: And who am I? A worm, weak and pathetic - who never amounted to anything. Astarion heard this throughout the 200 years of his torment. Cazador had insinuated it to him all along - the helplessness and doom of his condition. He's used to a position where he just has to resign himself to it. It's the aftermath of his deep wound.

And then it clicks “no”. We won. Cazador is dead. And I am Lord. We'll figure it out. “I am sure of it”.

He wants to, very much, his feelings here play colors and all the developments that have taken place. But the practical side of the situation… which he realizes inside makes him have feelings and think thoughts he would never want to think about - loss. And what kind of loss? His love.

I've written about the “We” part of the big analytics here before. Astarion uses it many times. This moment is special and precious because he uses "We" in a stressful and dangerous situation, when his confidence after a grand victory and freedom is suddenly shattered again. And his wound is open.

Astarion is used to no one helping him. His usual phrases are “trust no one”.

I remember in situations of danger, he showed only distrust that anyone could help him except himself. That's quite a lot.

When the emotional contact happens in act 2 his feelings with Tav become deeper and true. (although in Act 1, Astarion felt something that was just building up to wanting real and more)

This moment is important because:

- he expresses his “I”.

- that he doesn't just say “We” when he's proud and puffed up. “We rule, we are beautiful.” He says “We” when a problem needs to be solved. That's what makes this We special. And under stress that he's even stuttering (!). It's a huge step, as if to say, he doesn't push Tav away, his first thought on how to solve this problem - relies on us. It's also a comfort to him. In addition, his tone becomes very soft - he's trying to calm Tav down so they can figure something out, too. Including “wait” gestures are the soothing “take your time, calm down, we'll think about it” movement.

As soon as he felt the pain from his wound, he remembers the most important. It's his trust and confidence in each other.

We can do it together.

At the end, I suggest enjoying Astarion against a backdrop of blue space nebulae.

How I hate Tav/Dark Urge's lines after the ritual. Several rails to choose from, on which they offer you to ride: "I want your body / I want to use you to become a vampire," or creating conflict out of nowhere. Is this an RPG? For heaven's sake, he called you "pet" before. I can definitely feel how I'm being manipulated, but the manipulator turns out to be the writer themself, making sure I don't stray from the path they've set.

I got curious about how Astarion looks in moments when the in-game camera doesn’t show him. And when I finally saw it, I froze, unable to stop recording… I nearly melted from tenderness as I looked at his dear, satisfied face. Oh, my Lord…

"I HATE Ascended Astarion..."

(People are so afraid to face the truth that they came up with a headcanon about losing his soul, which was completely debunked by the developers.)

Kneel

Sketched out a scene ✍️

Oh, it seems UA fans are attacking the bride theory again. Especially the ones who were dying on a Larian forum because of how they wanted fear and victim faces for AA in kissing. When Larian made faces appropriate for Valentine's Day content, accused Larian of romanticizing abuse. Can you imagine - yeah, not even play, you do a romance with a vampire for fun in the game, and then 👁👄👁 Shitawn-fans

What polite analysis afterward, because there is still a way to say that AA fans are spreading toxic misinformation.

Astarion: pain, buried in the ground, blood given willingly makes a true vampire. Lore DnD5 and BG3 You drink vampire blood that is given willingly = you are a true vampire.

Tav: no pain is shown Tav doesn't remember how it was, use UA logic that Astarion is lying and for amusement agree with charisma - still a failure. No burying in the ground, Blood given willingly and spreads the power of ascension, so Tav does not burn like Astarion spawn after the final battle. Barovia and Strahd from lore Ravenloft mentioned several times in BG3.

The theory has inconsistencies, like the amount of blood. Still Tav's turn is not usual and does not follow the canon of DnD5 and BG3. The bride theory explains why this is so.

Larian specifically wrote those differences, specifically gave Tav blood, purposefully even italicized.

I really don't think people who want to see Astarion on path of evil as a sexual abuser want to talk about lore DnD and be able to make any kind of unbiased analysis of lore. Maybe you think so, but I'm convinced: not in this case.

Regarding the claim that the lore of vampire brides is supposedly outdated because it’s based on Van Richten's Guide to Vampires, published in 1991, and that this lore isn’t mentioned in the current edition of DnD 5e, specifically in the 2021 edition of Van Richten's Guide to Ravenloft:

First of all, vampire brides are also mentioned in Van Richten’s Monster Hunter’s Compendium from 1999.

But most importantly, the 2021 edition of Van Richten's Guide to Ravenloft directly references Van Richten's Guide to Vampires.

So…

If we disregard the lore of Ravenloft (even though the game clearly alludes to it) and focus solely on the game itself:

Player: How does someone become a vampire, exactly? Astarion: It's simple. Just find a vampire that will drink your blood and turn you into a vampire spawn: their obedient puppet. In theory, the next step is to drink their blood. Once you've done that, you're free and a true vampire. Player: 'In theory'? Astarion: People think the biggest threat to a vampire is a cleric with a stake. It's not. The biggest threat to a vampire is another vampire. They're scheming, paranoid, power-hungry beasts. So why would any vampire give up control over a spawn to create a competitor?

Player: So they bite you, you bite them? Astarion: Yes and no. The problem is once you're a vampire spawn, they completely control you. They have to allow you to bite them. And why would they do that? Vampires are power-hungry creatures. They won't lose a servant to create a competitor. Trust me. It doesn't happen.

Once AA gives Tav his blood, they can no longer be considered a spawn—according to the lore, they become a true vampire. This is confirmed both by in-game dialogues and the D&D 5E lore on which the game is based.

Astarion: Nearly two hundred years and I never came back. Not since the night I woke up down there. I had to punch a hole in the coffin and claw my way through six feet of dirt. Then when I finally broke the surface, retching up dirt and congealed blood, Cazador was waiting. From that day on I was his. Until today. Moreover, we never see AA mentally controlling Tav the way Cazador controlled his spawns—which would be undeniable proof of their status as a spawn. The game only presents a dialogue about freedom, which does not contradict the concept of Tav as a bride but also does not confirm any magical control that could prove otherwise.

So if you believe that the Bride Theory is unfounded and that the process of becoming a vampire bride doesn’t align with what is shown in the game, then consider this: it has even less in common with the process of becoming a spawn. The turning into a spawn is described in detail in the game, and clearly not without reason—and Tav's/Dark Urge's turning is not just different in some aspects, it has absolutely no similarities with it.

No matter which lore you take, Tav is not a spawn.

Maybe I should make a post with counterarguments to all the most common arguments against the Bride Theory.

Ascended Astarion x Consort week challenge. Day 2 "Devotion".

«Vampires differ in their motivations when creating offspring. Some fledglings do it accidentally, not yet understanding the consequences of killing a foe. Others do it to create slaves for themselves. Some few seem to need contact with members of their own kind and create companions. This latter group is more likely to become the sentimental "parents" described above and is hence most likely to meet destruction at the hands of their offspring.»

«When a vampire is destroyed, all semblance of control over its offspring immediately vanishes. Most offspring will immediately go about their own business. I have heard of some rare creatures who have sought the destroyers of their creator and wreaked vengeance on them. I find this somewhat hard to believe because it implies a sense of loyalty, even love of a kind, between vampires. Still, stranger things have proved to be true.»

«An especially rare and unique relationship between vampires is in that of the "Bride" or "Groom." Actually, considering that the fact all vampires were once mortal, it is almost surprising that this phenomenon is not more prevalent. No matter what changes undeath has wrought, some vestiges of mortal thoughts and aspirations still survive, l am sure. Eternity can weigh heavily on the spirit-even the spirit of a vampire. Of all the burdens of immortality, perhaps the greatest is loneliness. To whom can a vampire bare its soul and admit its fears? With whom can the vampire vent some of the intense sensuality that seems to pervade its breed? From whom can it receive consolation for the past, comfort for the present, and hope for the future? An eternity of solitude can be an eternity of pain.»

Astarion: I did miss you, you know. There is a sense of loneliness that comes with power. We did share a wonderful adventure, you and I. A pity to see it end, in some ways. But we have great new lives stretching out before us. And great new adventures to go on. I will never forget the time we spent together, though. And I know you'll never forget me.

«It is no wonder, then, that vampires sometimes long for a special companion. Fortunately for these tortured souls--and unfortunately for their mortal victims-vampires are capable of creating such companions. These special minions, if such a term truly applies, are known as "Brides" and "Grooms." These terms may seem inappropriate, carrying with them as they do the emotional "baggage" of love and marriage. While marriage is not an issue, a form of love, or at least of emotional bonding, is involved, so the terms are not as inappropriate as they may seem at first.» Player: You made me your spawn... What is going to happen to me? Astarion: Spawn is an ugly word. I really do prefer consort.

«Creating a bride or groom, although seemingly a simple process, requires an exhausting exercise of much power by the creating vampire. For this reason, only vampires of advanced age and capability can even assay this procedure. A bride or groom can be created only by a vampire of age category Ancient or greater, and not even all of those are capable of doing so.»

Gale: So, Astarion. I hear your relationship has taken on a new aspect recently... Astarion: My life has taken on a new aspect. It is only natural that my relationships change as well. As the Vampire Ascendant, I can grant my lover immortality, and bind them to me forever. Raphael: In full, the contract states that Cazador will be granted knowledge of an infernal ritual so vile it has never been performed. The Rite of Profane Ascension. It promises to be a marvellous ceremony. Very elaborate, incredibly ancient, and entirely diabolical. If he completes the rite, he will become a new kind of being - the Vampire Ascendant. All the strengths of his vampiric form will be amplified, and alongside them he will enjoy the luxuries of the living. The arousals and appetites of man will return to him, and unlike Astarion, he will have no need of a parasite to protect him from the sun.

«The first step requires that the vampire find an appropriate mortal to be the bride. […] Usually this problem solves itself. Very rare is the vampire who decides in isolation, "I will make a bride," and then seeks out a mortal to fill the bill. In the vast majority of cases, the process occurs in the reverse order. The vampire is drawn emotionally to a mortal and decides, because of the strength of this emotion, to make her his bride. The nature of this emotion can vary widely. It may simply be hormonal lust (after all, the physiological systems related to such effects in mortals are still present, and sometimes still functional, in vampires). It may be an obsession dating from the days before the vampire became what he now is, as is the case with Strahd von Zarovich's obsession with women who resemble his lost Tatyana.»

Astarion: Ugh. Strahd wouldn't put up with this shit.

«In these cases, the vampire creates its bride in cold blood, for the sole purpose of satisfying its own desires. Sometimes, however, the emotion may be close to what mortals classify as love.

The happiness of the vampire becomes tied up with the prospective bride, and its well-being depends on hers.»

Astarion: You are my consort, and I will see you living the very best life. Even if you don't appreciate it. Astarion: I don't intend to die, if you don't. I truly believe we can best the brain, united like this.

«In these cases, the vampire might actually believe it is bestowing a gift when it turns the mortal into its bride— the gift of freedom from aging and death.»

Player: Well, I suppose it cannot be undone now. Astarion: You are stronger now. Better. You will thank me one day, I am sure.

Player: I hoped you'd learn to love me. Astarion: Who's to say I don't? I'm willing to share all of this with you. What's that if not love?

Player: I wanted a good time, that's all. Astarion: What do you mean? Think of the things I can offer you! You're not going to say no to that, surely?

Player: Then stop joking around and let's sleep together. Astarion: You've earned it. But don't you want more - don't you want eternity? One more bite is all it would take?

«To actually create the bride, the vampire bestows what is known as the "Dark Kiss". It samples the blood of its mortal paramour-once, twice, thrice draining her almost to the point of death.»

«This process causes the subject no pain; in fact, it has been described as the most euphoric, ecstatic experience, in comparison to which all other pleasures fade into insignificance.»

Astarion: Tonight, I shall drink every drop of your blood. Own your body, kill your mind. It will only hurt a bit, the pleasure will be far greater than the pain.

Astarion: I remember how it hurt when I turned to a vampire. My body writhed and warped while I was utterly helpless, the grip of death owned my heart as it beat its last.

«Just as the subject is about to slip into the terminal coma from which there is no awakening, the vampire opens a gash in its own flesh-often in its throat, wrist, or chest (being near the heart)-and holds the subject's mouth to the wound.»

Player: What exactly happened? Astarion: You were drained dry, and at the height of your delirium, I granted you one drop of my own blood.

Player: Does this mean I won't be able to walk in the sun if my tadpole is removed? Astarion: Don't you worry. You have supped of my blood. It will be no trouble to extend a fragment of my protection to you. Player: Will you still drink my blood? Astarion: Of course I will, and you'll drink mine. I can't wait to taste your lips after you've tasted me.

Player: How does someone become a vampire, exactly? Astarion: It's simple. Just find a vampire that will drink your blood and turn you into a vampire spawn: their obedient puppet. In theory, the next step is to drink their blood. Once you've done that, you're free and a true vampire. Player: 'In theory'? Astarion: People think the biggest threat to a vampire is a cleric with a stake. It's not. The biggest threat to a vampire is another vampire. They're scheming, paranoid, power-hungry beasts. So why would any vampire give up control over a spawn to create a competitor? Player: So they bite you, you bite them? Astarion: Yes and no. The problem is once you're a vampire spawn, they completely control you. They have to allow you to bite them. And why would they do that? Vampires are power-hungry creatures. They won't lose a servant to create a competitor. Trust me. It doesn't happen.

«It is at this point that the creator-vampire's strength is most sorely tested. He is weakened by his own blood loss, and also by his own rapture as the "victim" of a dark kiss. Overcoming the sudden loss of strength and the inclinations of lust, the vampire must pull her away from its own wound, hopefully without harming her, before she has overfed. Should the subject be allowed to feed for too long (more than 2 rounds), she is driven totally and incurably insane, and will die in agony within 24 hours.

The first moment that the bride realizes the ugly truth about her new nature can be highly traumatic, unless her creator takes steps to ease her acceptance.»

Player: I'm already a Slayer and a squid - this is minor in comparison. Astarion: Terrifying and brilliant. I knew you'd take it in your stride.

«Any vampire can have only one bride or groom at a time. A vampire is physically incapable of creating another bride or groom while it has a companion already bound to it in this relationship. If the vampire wishes to create another bride or groom, it must either destroy its current bride or groom or follow the ritual described later to dissolve the bond between them.»

Minthara: Would you ever consider sharing the gift of immortality with me, Astarion? Astarion: I think not. That is for me and my darling to share. Minthara: If they have prevented your eyes and fangs from wandering to other necks, it must be a special bond indeed.

«Although there are some folk tales that describe the bride of a vampire as its slave, in much the same way that offspring are slaves, a bride is free-willed from the moment of her creation. The creator vampire does have great influence over the bride, however, although this control is totally nonmagical.

Newly created brides are generally ignorant of their own capabilities. If in life they heard folk tales and myths about vampires, they might have some vague conception, but often these tales are totally wrong. The bride is effectively dependent—totally dependent—on her creator to learn how to survive as a vampire. This obviously gives the creator great power over the bride.

By lying to her or bending the truth, he can convince her that she must obey his every order or suffer horrible consequences.»

Player: Spawn? I want to be a true vampire. Astarion: And you will! All in good time. But we mustn't rush these things. You may need time to adjust.

Player: And you promise you'll make me a full vampire soon? Astarion: My darling, of course! I want nothing more. Node Context: overly sincere - he doesn't really mean it Player: Cazador could compel you - can you compel me? Astarion: Why would I need to? You're going to be wonderfully obedient.

Player: I think we should break up. Astarion: Hahaha! Don't be stupid, darling. You're mine, remember? The tadpole is gone, which means your future is mine to decide. NodeContext: Genuine laugh - the player can't get away from him. Not even if they want to. «She saw me not as a protector, but as a rival, as a slave master. And she dedicated herself to freeing herself from my yoke.»

Aurelia: The bond's hold. He owns us. We have no choice, we must obey. Get out of here, Astarion, before… NodeContext: Last phrase is the moment Cazador takes control of them. They are giving Astation a final warning to run away. NodeContext: vampires were compelled by cazador to attack the player Astarion: He has no power over me anymore. Godey: You think you're free? Then let's tighten your chain. Narrator: All that you've seen since the crash - all the wonders and horrors - suddenly seem inconsequential. Only one thing matters. Cazador - your master, your lord, your creator. His will tightens around you once again, and it is as if you never escaped him. Astarion: You have become your own master. Deny him.Narrator: And then it is inside you, clogging your nostrils and throat with a sickening sweetness. You cannot fight back. You cannot reject it.

Narrator: Cazador's presence rises in your mind, a towering red wave that seems capable of drowning the world. Narrator:  And then it is inside you, clogging your nostrils and throat with a sickening sweetness. You cannot fight back. You cannot reject it. Narrator: And it shatters your will entirely, smashing your defences and leaving you broken and gasping for air. You cannot deny him.

«With time, and through experimentation, the bride might find out the true level of control her creator has over her—that is, none. She is still in a very inferior position, of course, because she is a Fledgling and her creator is at least an Ancient.»

Player: I'm sorry I kind of disappeared. I didn't mean to leave you like that. Astarion: Oh my dear, you didn't leave me - I let you go. If I'd wanted you to stay I only had to say the word and you would have been back by my side. But I'm not some controlling monster. I wanted to give you space to see what else is out there, make your own mistakes, and return to me ready to fully appreciate our life together. Anyway, I have had more than enough to keep me busy while you were off gallivanting in another plane.

«Some creator vampires—particularly those who created the bride out of love—will be totally honest with their creation, depending on loyalty, friendship, and even reciprocated love to stop the bride from trying to bring about their destruction. This is probably the most beneficial situation for both vampires, because two creatures cooperating are much more effective than two creatures involved in machinations against each other. A vampire and bride who truly love and trust each other make a team that is exceptionally difficult to defeat!»

Astarion: I may have power, but it would be nothing without you. You complete me.  And together, we are unstoppable. So Heavens help the fool that tries to get in our way. Player: None would dare, my love. Astarion: I almost wish they would. It's been some time since we've seen a real challenge.

Source: Van Richten's Guide to Vampires. TSR, 1991.

Chapters:

XI: Relationships Between Vampires: Progenitor and Offspring. XII: Relationships Between Vampires: Vampire Brides and Grooms. P.S.: A Reddit user shared an Easter egg referencing the Ravenloft lore and Brides in the game, which I hadn't seen before. I'll add it as an addition to the post:

[An excerpt from The True and Impossible Adventures of Tenebrux Morrow, a pulp serial following the 'real-life' exploits of an interplanar ship's captain. The real Captain Morrow is known never to have left her native Waterdeep and emerges from her rooms at the Yawning Portal only to exchange scrawled manuscripts for fresh meals and ink.] Much is made of Barovia's gloomy climate. It is said the mists there confuse the mind and torment the soul, binding travellers in a grip of such despair that escape is impossible to contemplate. As the New Bride parted that heavy fog, I confess that I felt no such malaise beyond the onset of a rather stuffy nose. The same, I fear, could not be said of my crew. Among those who had not already cast themselves overboard, the gibbering and weeping became such that I was forced to bind them to the mast entire, and navigate my fair Bride alone. I went in search of that plane's dark master, having been informed that even my ship could not hope to breach the planar boundaries without permission. And so I probed the mists, defiant at the helm and belting out a lively shanty of my own composition The invitation did not long go unanswered. He appeared like the passing of a shadow overhead, sudden and terrifying. Or certainly, that was his intention - but once the mutual assurances of destruction were dispensed with, we found in one another kindred spirits, and fell to conversing in earnest. At length, a price for my passage was agreed. Of that price, and that man, I will say only this: he is surprisingly excellent company, given the stories - and the teeth do not get in the way nearly so much as one would think.

I wish Tav had dialogue options at this moment like:

I love you.

I trust you.

Tav is literally going to die in a couple of minutes. I want Tav to have the chance to say something before Astarion starts turning them.

Well, in any case, he knows that… Astarion: You are so beautiful... And you will be beautiful forever. Thank you for trusting me.

hot take good endings only players are really fucking rude to the point that it's actually ridiculous

you don't understand the game, the story, the lore, or the characters better because you prefer the good endings

you don't love the characters more because you prefer the good endings

people who like the evil endings aren't stupid

people who like the evil endings don't like them "just because they think it's sexy"

if you want to know why people like the ending you don't like

you could

just

ask

instead of making shit the fuck up

Ascended Astarion in fanon: A deranged psychopath, Cazador 2.0, who locks Tav/Dark Urge in the basement and tortures them from time to time, perpetuating the cycle of abuse. The ✌️ cycle of abuse ✌️ in canon:

These excerpts from Van Richten's Guide to Vampires seem particularly intriguing in the context of Astarion’s “good” ending, as I’ve always been skeptical of the very idea of “fixing” a vampire. Even without considering the early concept of Astarion’s backstory, where he was already pursuing eternal life and acting immorally as a corrupt magistrate long before becoming a vampire.

In D&D lore, vampires are inherently evil creatures by default. Their alignment undergoes a drastic shift upon their transformation: emotions and feelings become distorted, moral principles (if they weren’t already corrupt before the transformation) are warped, and the thirst for power and control grows significantly. However, this aspect is often overlooked when it comes to Astarion’s spawn route, while all "vampiric" traits are attributed exclusively to his Ascended version. This, in reality, is a selective application of the lore.

Stephen Rooney: "It's important to have that… and also… he's a vampire, he's all about blood and he's all about darker sides of humanity. So, it's important that that's represented in the game."

Given these facts, the idea of shifting Astarion's alignment to good or even neutral seems highly unlikely. Considering the nature of vampirism, keeping him away from dark desires would be a significant challenge for Tav. It might even require rolling Charisma checks every few years to prevent him from succumbing to temptation. The only real way to move him toward a stable "redemption" would be to cure him of vampirism, which, as far as I know, is possible within D&D. However, the game itself never addresses this possibility. Instead, the spawn-ending merely offers the chance to seek a way to remain in the sun without sacrifices or deals with dark powers, as Ascended Astarion does.

However, according to Neil Newbon, Astarion is in harmony with his vampirism.

"Astarion’s challenge wasn't directly related to him being a vampire. It was that he was a spawn, and that he wasn't free. He is technically free now. [...] He's okay with being a vampire."

The prospect of being cured of vampirism does not even appeal to Astarion.

The first classification includes those who became vampires because of “deadly desire,” like Strahd Von Zarovich (see Chapter XIII, “The Who’s Doomed of Ravenloft,” in the Ravenloft boxed set).

The second comprises those who became vampires as the result of a curse, whether laid by a mortal or by an evil deity.

The third and final category is the most numerous: those unfortunates who became vampires as a result of the attack of another vampire.

The first two categories have one major factor in common: in almost all cases, these vampires were evil while they were alive. The transition to undeath never affects this, except, in some cases, to intensify their evil.

The final category is a completely different case. Victims of vampires have no commonality with regard to ethos, moral strictures, philosophy of life, care toward others, or any other factor. A victim of a vampire could be a saint or a sinner, a paladin or an assassin, a compassionate healer or a ruthless alley-basher.

The fact is that the vast majority of vampires are chaotic and extremely evil. How does this come about? In most cases, it seems that the transition to undeath itself brings about this grim change in the victim’s mentality; the Fledgling’s previous worldview is largely irrelevant.

There are, however, some fascinating exceptions—documented cases of Fledgling vampires that managed to retain some of the attitudes and beliefs they had while alive, at least for a time. What sets these exceptions apart? Was it, as some sages suggest, a characteristic of the vampire that created them? Or was it something inherent within the victim?

My own theory is this: the victim must possess immense strength of will, and the vampire that killed them must be prevented, in some way, from implementing the innate control such creatures have over “secondary” vampires. (This can happen if the creating vampire leaves the area or is destroyed between the time of the victim’s death and the night the victim first rises as a vampire.)

Some of the most fascinating examples of this sort of "carryover" were recorded by a sage whose name has been tragically lost in a treatise whose title I have borrowed (with thanks) for this chapter: The Mind of the Vampire. Two examples follow:

A young, naive man, raised in a sheltered and privileged family, was slain by a vampire passing through the neighborhood. At first, he was unaware of his true nature (or unwilling to accept it), believing that his "death" had been nothing more than a profound illness and that his "premature" burial was merely a mistake by his overzealous family. However, evidence of his vampiric nature soon became apparent. The poor wretch was unable to fully renounce the life he had left behind and took to "haunting" his old home, watching from the shadows and pretending he was still, at least peripherally, part of mortal life. He might have seemed a wholly pathetic figure were it not for his vicious attacks on anyone who dared to take away the semblance of his former life.

An intrepid vampire hunter was slain by one of the creatures she so tenaciously hunted; the monster that killed her was immediately destroyed by her colleagues. For reasons unknown, these colleagues neglected to take the necessary precautions to prevent the woman from rising as a vampire. The trauma she experienced upon realizing her vampiric condition was almost—but not quite—enough to drive her mad. She had taken up her life's work as a moral duty, committed to ridding the world of the scourge of vampirism, and now she had become the very thing she had always hated! Despite the shock, she resolved to make the best of the hand Fate had dealt her. She dedicated her unlife to continuing her mortal mission, using her newfound powers to track down and destroy others of her kind. Tragically, her sense of duty soon became corrupted by a quest for power, and she was ultimately destroyed by Strahd Von Zarovich.

Van Richten's Guide to Vampires. TSR, 1991, Chapter XII: "The Mind of the Vampire: The Psychology of Immortality."

But this thesis raises a fascinating question: if we set aside the matter of feeding habits, could a vampire exhibit other behavior patterns that might be described as “good”? The answer is “theoretically yes,” and I can even cite one short-lived example.

A man of good alignment was killed by a vampire and subsequently became a vampire himself, initially under the control of his dark master. When the master vampire was destroyed, the “minion” vampire became free-willed. Despite his undead condition, he still held the beliefs and attitudes that had, during his life, categorized him as Good. In secret, he resolved to use his powers to at least partially amend the damage caused by both himself and his master. For several decades, he acted as a secret benefactor to his hometown.

Unfortunately, this situation changed over time. At first, the undead benefactor sought no recognition, keeping his identity and nature completely secret. He lived in a cave on the outskirts of town and had no contact with the living. However, after a decade, it seems he began to resent the lack of gratitude shown by the townsfolk for his generosity. He started leaving behind notes requesting some form of “concrete appreciation,” generally in the form of money, in exchange for his efforts. (Of course, he had no need for money; the coins were purely symbolic of the thanks he felt he deserved.) His demands grew increasingly steep until the townsfolk decided his requests were excessive and stopped paying.

At this point, the vampire’s feelings toward the townsfolk turned to hatred. In his rage, he fell upon them like a scourge, terrorizing them until he was eventually destroyed by a group of intrepid adventurers.

I have a theory that explains this transformation. Eternity is a long time, and as the years passed, the vampire’s feelings began to change. Gradually, he lost his sense of kinship with the living and started prioritizing his own desires—even when those desires were irrational—over theirs. Eventually, he came to view their very lives as insignificant and unworthy of his consideration.

I strongly believe that this shift in attitude happens, inevitably, to all vampires. For some, it occurs almost immediately; for others, it may take decades. Although I lack concrete evidence to support this conjecture, I suspect that no vampire can maintain a nature other than Chaotic Evil beyond the Fledgling age category.

Van Richten's Guide to Vampires. TSR, 1991, Chapter XII: "The Mind of the Vampire: A Question of Alignment."

Lately, I often come across the opinion that Ascended Astarion’s line, “I can't believe you let me do that. Killing all those people,” supposedly indicates that he recognizes the immorality of his actions and even condemns Tav/Dark Urge for allowing him to do it. Allegedly, he feels guilty and regrets not being “saved.”

This opinion is obviously influenced by the dialogues in the spawn ending, where Astarion thanks Tav for talking him out of performing the ritual. However, it’s important to pay attention to the full content of his line in the Ascended ending:

Astarion: I can't believe you let me do that. Killing all those people. A pleasant surprise.

Astarion does not express regret or condemnation, but rather surprise and pleasure that Tav went to such a serious crime for him.

This is followed by claims that he is lying or pretending, while deep down he feels guilt and disappointment. However, such conclusions merely show how objective facts are interpreted and distorted to align with one’s own beliefs.

Yes, Astarion fully understands that his actions are immoral, but this awareness does not imply disappointment in the ritual or Tav. On the contrary. He simply calls things as they are. He is honest with himself and with Tav/Dark Urge.

Moreover, it’s important to consider the context in which this phrase is spoken. It is clearly addressed to the player, who throughout the game made mostly morally good decisions, and then unexpectedly committed a radically evil act, surprising Astarion. If you played as a consistently evil character throughout the game, this line may seem illogical, strange, and devoid of meaning — yet another example of questionable RPG design and storytelling methods used by Welch.

To be honest, some people go to absurd lengths in their interpretations to present AA’s ending as a "bad" one for him.

«The first stage is usually characterized by the creature feeling a dark joy in its new powers. It is overwhelmed by the sense of power engendered by its strength and its supernatural resilience. Newly-formed vampires will often assume animal form for the pure and simple-minded joy of flitting as a bat over the forests of the night or running, seeming tireless, with a pack of wolves.» — Van Richten's Guide to Vampires, TSR, 1991.

I have always perceived the act of kneeling in the scene where Tav undergoes the transformation into a spawn not merely as an act of submission, but as a kind of oath-taking ceremony. In D&D lore, vampires possess a lawful evil alignment, which is inseparable from strict principles of hierarchy. Astarion calls Tav his consort, emphasizing not only his power and status but also Tav's crucial role in his plans. This also symbolizes their union within the framework of vampiric hierarchy and the new life that will begin after Tav's transformation.

Consort is a title traditionally used to refer to the spouse of a monarch. In the context of a royal family, a consort does not hold the rights of a ruler but serves as an important figure in public and state affairs.

It is particularly noteworthy that it is right after the night of the turning that Astarion first calls Tav his consort, which I personally cannot see as mere coincidence unless he intentionally imbued the event with ritualistic meaning. Such wording is undoubtedly steeped in an aura of regal solemnity, which is especially remarkable for Astarion, given his yearning for grandeur and liberation from his former subordinate position.

When Tav knelt before Astarion, I was reminded of the painting «The Coronation of Napoleon» by the French artist Jacques-Louis David. The painting depicts the moment when Napoleon Bonaparte crowns his wife Josephine during the ceremony held in 1804 at Notre-Dame de Paris. Napoleon stands on an elevated platform in his imperial attire, including a luxurious cloak trimmed with ermine, as he places the crown on Josephine's head himself.

Meanwhile, in the developer's note to the animation tag for this scene in the game, it says: «Tav kneels before Astarion. Astarion stands proud before the Player. He is powerful. He is free.»

I have no doubt that Astarion was indeed imbuing this moment with a special ritualistic meaning. He wants Tav to acknowledge his supremacy by kneeling before him, as if it were an oath-taking ceremony. This is not just an act of dominance but a kind of ritual with profound cultural and historical undertones.

Undoubtedly, this scene is filled with clear eroticism, which perfectly aligns with Astarion's love for decadence and theatrics. I find this quite amusing, and I'm sure Astarion also enjoyed playing with this subtext, giving the moment a particular sexual tension and sharpness. All of this comes together in a quirky pattern, creating an exceptionally rich scene where cultural and erotic motifs intertwine.

Kneeling is a gesture that carries a variety of meanings depending on the cultural, historical, and social context. It is commonly associated with expressions of respect, submission, devotion, or acknowledgment. In a religious context, kneeling symbolizes reverence before a higher power, humility, or repentance. For example, in Christianity, people kneel before an altar or during prayer. In some religions, the gesture signifies a plea for help, mercy, or forgiveness. In a monarchical context, kneeling has been used as part of rituals such as knighting ceremonies or being admitted into the circle of royal privileges. In the feudal context of the Middle Ages, vassals knelt before their liege lord as a symbol of loyalty and submission. This act was often accompanied by kissing the hand or a symbol of authority (such as a sword or crown). In a romantic context, kneeling is a gesture symbolizing a marriage proposal, as well as an expression of respect, admiration, and love.

For myself, I highlight the following:

Acknowledgment of sovereignty — kneeling before a monarch symbolizes submission to the authority of the crown and recognition of its legitimacy.

Acceptance into the circle of royal privileges — in this context, the act can be interpreted as a ritual of initiation, where kneeling marks entry into an exclusive circle, granting access to the advantages and status associated with monarchy.

Astarion perceives himself and Tav as something superior to all other beings, stemming from the fact that Tav becomes a vampire. He believes that the transformation of Tav into a vampire grants them the opportunity to become "something more," elevating them to a new level. This transformation not only makes Tav a vampire but also symbolizes their entry into a special, elite category of beings who possess power and authority beyond the reach of ordinary mortals or other creatures. For Astarion, as a vampire, this means that Tav can now share in his greatness.

Astarion: You are stronger now. Better. You will thank me one day, I am sure. Astarion: You will be stronger, swifter, sharper, but you won't be different. You were already perfect before. It's hard to improve.

An expression of respect and devotion — such a gesture underscores reverence for the monarch as a divine or political symbol.

Kneeling as an act of humiliation:

In Astarion's thoughts, one can discern that he views Tav’s decision to stay with him and become his spawn as something indicative of degradation, perhaps even moral decline.

When Tav agrees to become Astarion’s spawn, it can be interpreted as a conscious act of self-sacrifice, where they relinquish equality in the relationship and willingly submit to him. This step symbolizes the rejection of personal autonomy and the acceptance of absolute dependence. Tav entrusts their life entirely into his hands. Astarion: You have given me everything. Thank you.

Astarion likely perceives such a decision as a form of "degradation," believing that a normal person, from his perspective, would not make such a choice. He tries to understand why Tav would do this and concludes that Tav derives a certain satisfaction from such a dynamic, perhaps even having an inclination toward it. Narrator: But perhaps you wish to degrade yourself. And he knows it.

This explains his surprise when Tav, contrary to his expectations, asks for tenderness. It’s simply not what he anticipates. His reaction reveals confusion and forces him to reassess Tav’s motives, as such a request goes beyond the scenario he had envisioned.

Astarion: So, tell me what you desire. What can I do for my dearest pet? Player: I want you. I want your body. Astarion: You've earned it. But don't you want more - don't you want eternity? One more bite is all it would take. As for Welch's remark that Astarion "won’t respect you," this narrative only applies to the phrase "I want your body," which itself is not required in the game. This line adds an interpretative layer but is not central to all the possible interactions between Tav and Ascended Astarion.

Baudelaire Welch: He's literally looking down on you because you are someone in that situation who believes you deserve sex as a reward. He will give it to you, but he won't respect you.

In essence, the entire narrative about the sexualization parallels the scene with Araj in Act 2, where the player asks for sex as a reward for defending Astarion before Araj or helping with Yurgir's murder. And although Welch desperately tried to impose this motif in the Ascended route, limiting roleplay, it is not the only one, and far from the most obvious. There are other reasons to help Astarion with the ritual, and even he is aware of them:

Astarion: Of course I understand love. All too well. The gravest crimes committed in this world are committed for love. A hunger crueller than bloodlust.

Many also overlook that Tav's consent to become his spawn is seen by Astarion as an expression of exceptional trust and devotion. His gratitude the following morning confirms this: he sincerely expresses appreciation for the trust shown in the very first phrase he addresses to Tav. Astarion: You are so beautiful... And you will be beautiful forever. Thank you for trusting me. Moreover, trust becomes the leitmotif of his dialogues afterwards, especially when their relationship with Tav is questioned or criticized by their companions. Each time, he emphasizes that their relationship is built on this foundation:

Karlach: You know, Astarion, I'm not sure I can trust you anymore. You're… different. A bit scary, to be honest. Astarion: I have one person who trusts me completely. That's enough for me. Lae'zel: You have shared your new power with your lover, Astarion. I'm surprised - I expected you to turn your back once you got what you wanted. Astarion: Quite the opposite - I need someone I can trust. And now I know they'll never betray me.

Unfortunately, in the kiss scenes of Patch 6, the original context was lost, and the focus shifted to themes of fear and humiliation that were not present in the original dynamic with Ascended Astarion. Considering that the kiss scenes were based on the scene of Tav’s transformation into a spawn, which is almost obvious, their emotional tone was distorted. For example, initially, Tav knelt entirely of their own free will, which emphasized the intentional and voluntary nature of their decision. In the kiss scenes, on the contrary, Tav is shown kneeling out of fear, the source of which remains unclear. Throughout the game, it is never shown what consequences Tav could fear for refusing to do so. In the transformation scene, Tav can refuse and not face any frightening consequences.

It also seems illogical when Tav is frightened when Astarion grabs them by the throat. This contradicts the transformation scene, where Tav themself initiated it, asking Astarion to hurt them and even tilting their head back, exposing their neck.

Astarion: It will only hurt a bit, the pleasure will be far greater than the pain. Player: Oh, come on. Let it hurt.

In the kiss scenes, however, this dynamic, based on mutual consent, was changed to an act of violence. This further exacerbates the inconsistency, especially considering that in the original script of this scene, it was noted that both Tav and Astarion derive pleasure from what is happening.

In dialogues, Ascended Astarion also demonstrated a willingness to be tender with Tav when Tav expressed it through words. He was not solely focused on rough dominance, as was attempted to be imposed in Patch 6. This change is likely an attempt by Larian to please the audience who, without going through the Ascended route and without understanding its nuances, actively promotes the narrative of the collective majority about the cycle of abuse.

Yes, the facial expressions in the kiss animations were changed due to fan requests for the Ascended route, but the aftertaste and consequences of these changes remain.

Some players still argue that facial expressions in role-playing games should be imposed "for the sake of the great narrative," while others use game conventions, such as cyclicality of animations, to demand the return of scared expressions. However, bringing back this dynamic would undermine the story and the character that fans of Ascended Astarion have known and loved for six months after the game's release.

In my opinion, to expand the role-playing experience, it would be much more useful not to return the scared expressions as an option, but to add the possibility for the lord to use more standard kisses, similar to those in Patch 5.

It is unclear why many are convinced that the vampire lord is incapable of tender kisses with Tav when his love scene demonstrated just this tenderness, and the moment with the kiss on the hand is one of the most refined and delicate romantic episodes. In particular, the kiss on the hand, which happens after the "be gentle" option is chosen, not only emphasizes Astarion's attention to Tav's desires and his willingness to listen, but also contradicts the notion of his exclusively dominant and cold nature.

If Astarion is capable of expressing such tenderness in intimacy, why is it excluded that the same softness could be maintained in his kisses?

The kiss in Patch 6 would only make sense if, upon choosing the "be gentle… if you can" option, Astarion ignored Tav's request, and his actions were no different from those in the "let it hurt" option.

I would also like to draw attention to the sharp contrast in Tav's facial expressions in the bite scenes, written by different writers. In Act 1, when Astarion was written only by Stephen Rooney, Tav's facial expression shows ecstasy, and this same expression is repeated in the lord's love scene, which, according to Welch, they did not write.

However, in the transformation scene, which, as Welch confirms, was written with their involvement, Tav's facial expression is noticeably different.

It’s not fear, like in the kisses from Patch 6, but the expression conveys a "problematic/kinky" mood — a term that Welch themselves used to describe this scene. This looks particularly strange in the dialogue where Tav explicitly asks to be hurt:

Astarion: Shall we have one last night together before you join me in immortality? One for the road, so to speak. Player: We shall not. I just need you to bite me. Astarion: Impatient are we? Well who am I to deny you?

This suggests that Welch’s views on "kinks" are at least debatable, and this influences how they are portrayed in the game. For example, Welch sees the transformation into a spawn as an "irreversible sex-pact/kink/form of gratification," but Tav's reaction in this scene is somewhat more uneasy than in previous episodes involving similar actions.

Both scenes are consensual, but they have a different tone simply because one of the writers condemned the player for "kinks," while the other did not.

In the cinematic context for the transformation scene, the following was stated: "You are naked and vulnerable before him." This feeling, it seems to me, is what the animators tried to convey and embody, capturing the intimacy of the moment. However, with the release of Patch 6, this message became distorted, turning into something entirely different — crude and devoid of the original subtle undertones.

In this context, I believe that the kisses from Patch 7 appear much more consistent compared to the facial expressions in Patch 6.

Especially when considering the following points:

Astarion grabs Tav by the neck solely at the player's initiative, and the dialogue clearly implies that Tav wants this.

Tav has previously reacted with obvious pleasure to similar actions by Astarion in other scenes.

I genuinely do not understand why Baudelaire Welch's contribution should be considered more significant, given that they joined the project during the later stages of the game's development. Especially when you consider that the character was originally created by another writer, who laid the foundation for his personality, story, and key traits. Prioritizing late additions that distort the original concept seems unfair and disrespectful to Astarion's creator and his vision.

At this point, I would like there to be an option in the game to kiss Astarion's hand. A hand kiss is also a symbolic gesture that conveys respect, devotion, submission, and acknowledgment of power or authority. I find this incredibly romantic, and I truly miss it. It would further emphasize the symbolism of this route.

The vampires bride

Would Astarion renew the bite? Discuss. ♥

Ascended Astarion and how he's not like Cazador

One of my favorite personal headcanons is that my Dark Urge chooses to become Astarion's spawn to deprive Bhaal of any claim over him. He chooses to give himself to his beloved rather than become a tool of an indifferent deity that uses its Chosen as mere means to achieve its goals. «Wither thou goest, I will go, and where thou lodgest, I will lodge; thy people shall be my people; and because I have no other god and never will, you shall be my god.»

Lord. King. Master.

Hello, Welch's spawn. I think when it comes to ascension, people tend to make up too much.

«He hides his hurt and insecurities behind that mask of the villain, behind his facade of power and dominance. Under it all he’s still the frightened spawn cowering in the kennels.»

Neil Newbon: We're just using completely different status shift changes as well. So whereas he has a lot of flow and all that kind of stuff and it's theatrical and distracting — it's always 'look over here and don't see how I really feel' with spawn Astarion.

With Lord Astarion, we talked a lot about the idea that the cover is now off completely. So that you see him at his most terrible, and it's completely honest and he doesn't have to pretend anymore. So he loses a lot of the flamboyance and the fun of the theatricality, which is all a distraction anyway. That's all distraction so you don't see how he's hurt and damaged and his vulnerability. Lord Astarion doesn't need that anymore. So we just thought, okay, now mimics taking off a mask it's off. He doesn't need to pretend, he doesn't need to do too much.

It’s no secret Astarion hates himself. Like he deals with a lot of insecurities and self loathing. He just puts on an act of self confidence and narcissism to properly play the role of sexy vampire.

But I think a lot of people miss when he Ascends this gets so much worse. Not only does he still think he’s only good for sex and has nothing to offer beyond that. Now he’s a monster, not by force but by choice. He choose to become a monster. Now he’s expanded his act from sexy vampire to evil sexy vampire. He’s playing the villain because that’s what he thinks he is. And as we know he’s really not that great at acting.

I think it’s interesting everyone always talks about seeing through Astarion’s facade but when it comes to him ascending they’re so quick to fall for his act all over again.

There’s the line “if you stay with him he will always see you as degrading yourself” in his post ascension romance scene. A lot of people interpret it at face value as he hates and looks down on Tav. But I think it’s miss understood because he could never hate Tav as much as he hates himself. Infact I’d say he has Tav put up on the highest pedestal. He sees them as the kindest most caring person in the whole world. He adores them and holds them in the highest regard. That’s why them wanting to be with him so much they would even put themselves beneath him is the ultimate degradation. It’s also why he feels he has to turn them because he doesn’t believe there’s any reason they’d choose to stay with him of their own free will while at the same time he can’t bare to loose them. He can’t wrap his head around the idea that you could actually love a monster like him.

If you say you want freedom in the reunion party he panics. Why would you want freedom? To leave him? You want to leave him? Why? When he’s given you the only things he’s good for; luxury and sex. That’s the only reason you choose him in the first place. He’s desperate to make Tav happy. With out Tav he has nothing. He is nothing.

He hides his hurt and insecurities behind that mask of the villain, behind his facade of power and dominance. Under it all he’s still the frightened spawn cowering in the kennels. And there’s no one he’s more desperate to hide this from than Tav lest they realize their mistake of caring for him and leave.

Oberyn Martell and Ellaria Sand. They're perfect for references. The dynamics of Lord Astarion and Tav. Oberyn different character, of course. Similar vibes: - bisexuality/pansexuality - a very close relationship with one partner, who has all his trust, despite various erotic adventures (although I'd like to point out if Tav doesn't like that sort of thing, I think their pleasures largely reflect each other, and they'll find plenty of ways to have fun just the two of them) - sun symbolism