Gods I Just Love That Astarion Is Pansexual. I Love Seeing Images Of Him Kissing Both Men And Women.

I'm new to Sleep Token; this is them, right?

Delicious in Baldur’s Gate

Nyachooh

Just a personal post, with a dash of Astarion because this is my life now

So I've gone my whole life denying myself writing fanfiction (despite being a writer since forever) because of the powerful internalized autistic fear of being "cringe". But after playing BG3 I just can't do it anymore. Astarion as a character just inspires me too much and I have so many scenes I want to write that in my mind, its criminal weren't included in the game. Honestly, once I gave myself that permission, I've written more this past month than I had in the past six months of my original story. It's been so fun and rewarding and has taught me a lot about what mental hang-ups I still have as a writer, even when it comes to work I know I'll never share. I'm basically just novelizing the story of my Tav and Astarion now, and it's so much fun. I'm sure a lot of my ideas have been done a million other times by other people, but this is my version, and I'm reminding myself that there's value in that. I'm still learning that it's okay to be self-indulgent and "cringe" sometimes. I just want to see the characters I love be happy and get the treatment they deserve, even if I have to write it myself. I'm being creative and it makes me happy, so maybe that's what matters? It's freaking me out now to even post this, but I'm really trying to learn how to express myself honestly again after so long masking and being so concerned with appeasing others. The fear of judgement or "doing something wrong" is hard to get over. Maybe someone else relates.

Oh sorry, I forgot

5. Insufferable bastard

I’ve been trying to get some good dialogue scene screenshots of Astarion, and my field research suggests that he has these modes only: 

Literal model

"Depraved carnal lust"

Sad cat

Actual gremlin

Current mood:

Yes, that's poor Gale who fell into the lava and is melting.

What does it say about me that I feel like having a brain that works the way Harry Du Bois' does would be cool and efficient?

Hello and welcome back to "I Take Things Too Seriously And Treat Fictional Characters Like They're Real People". On today's episode-

Love it when you have to suspend your disbelief over the fact that a character is able to function on any level given what they've been through. My boy is impossibly well-adjusted.

Since I joined the fandom, I’ve been told, repeatedly, that Astarion was evil in the past, evil when you meet him, and will be evil at the end of the game—whether he remains a vampire spawn or not. No good ending, no redemption for him; because it’s not like he suddenly becomes a saint!

Essentially, he’s talked about as if he were a monolith. Static. Unmoving. Frozen in place.

Well, at this point, I feel the need to say how I see it.

First of all, the concept of the corrupt magistrate is outdated—it doesn’t exist in the game. Maybe it was an early draft of his background that was later scrapped. But in the actual game, there’s no mention of it—no character, no note, no book, not a single thing that references this.

And given how important that detail would be for his characterization, I don’t see why Larian wouldn’t have included it, even as an offhand remark.

What we do know about Astarion before becoming Cazador’s vampire spawn is that he was a magistrate, and that the Gur beat him to death over a law he had passed against them. That’s it.

Personally, I think this ties into his previous position of privilege, prejudice, and the fact that he was likely a tedious, meticulous, and inflexible magistrate—but ultimately, that’s just my own inference based on scattered dialogues.

The truth is, the Gur could have been wrong.

We’ll never know!

Just like we’ll never know what color his gorgeous eyes were before they turned red.

Now, I’m going to shift to a slightly more technical perspective—but I promise I won’t go overboard!

The Astarion from Act 1 cannot be the same Astarion at the end of the game, regardless of whether he ascends or not.

And here’s why.

In basic screenwriting, we talk about a character’s transformation arc. If there is no change, there is simply no story—because the character would be nothing more than a rubber figure on whom events, decisions, and other characters bounce off without leaving a trace. It wouldn’t be engaging, nor would the character have any real drive to act.

This is a vast topic that I won’t go into in detail, but if you’re interested, just type character arc into a search engine, and you’ll find a whole world of information.

Do you think stories and characters are written purely by feeling? There are countless manuals that explain the rules of good storytelling. (Dara Marks, considered the best American story editor, formulated the rules outlined in her renowned manual, Inside Story: The Power of the Transformational Arc.)

And characters follow writing principles—Astarion included. And creating a believable character while following these rules is really complicated—so every time someone says that Astarion is a monolith, somewhere, a screenwriter dies.

It’s just not possible, folks—there’s no chance that Astarion stays exactly the same throughout the entire story. He has to grow. Or regress.

Either way, he cannot remain unchanged; otherwise, The Pale Elf narrative arc wouldn’t exist.

It’s the fundamental rule of storytelling—straight from the rulebook.

Now, let’s clarify the concept of redemption a bit.

In religion, redemption is the forgiveness or absolution of sins and protection from damnation and misfortune, whether eternal or temporary. The Catholic Act of Contrition is a profound and meaningful prayer, considered the first step toward redemption. It allows believers to express their repentance and willingness to change after committing a sin.

From here, the term has come to be used in a more general sense to refer to the attainment of physical or moral freedom through liberation from guilt and sources of unhappiness.

In a literal sense, however, redemption means salvation, remedy, or escape.

So, yes, the vampire spawn ending is a redemption arc—not because Astarion suddenly becomes a saint, for god’s sake, but because he faces his past, everything he has done up until that moment and the people he has harmed, and does so as a hero, sacrificing himself for the greater good.

(Yes, one could debate whether releasing 7,000 starving vampire spawn into the world is truly the greater good, but within the context of the game, its setting, and Astarion’s narrative arc, it is.

Wyll—the group's hero and a monster hunter—explicitly says, "They are victims just like you, Astarion. They deserve freedom too."

Many of the good-aligned companions also disapprove of their extermination, and depending on their oath, even a Paladin Tav/Durge can break their vow and become an oathbreaker if they choose to kill them all.

So, the game itself strongly suggests that freeing them is the most humane and morally right choice—especially for Astarion.)

So, to summarize, it is a redemption arc because Astarion takes responsibility and atones for his actions, for his sins. He acknowledges the harm he has caused and repents, embraces the pain of others beyond his own, and gives them the freedom that he himself had once taken from them.

That’s what redemption means, not that he becomes a saint by the end of the game.

Not only that, but Astarion also makes peace with the Gur, who will stop hunting him—not out of laziness, but because he has proven that he has changed, that he has grown, and that he is no longer a threat to innocent people. (And they also accept the release of the spawn, despite being monster hunters—take note!)

It’s no coincidence that Astarion tells his brothers and sisters that they can choose between being parasites hiding in the shadows or something more than what Cazador created them to be.

But either way, the consequences will be on their heads—because actions and choices have weight.

And you reap what you sow.

And here, I’ll take a small detour, because the first person to bring up the concept of redemption is actually Ulma, with her words: "But it would be a start—you could still be redeemed."

She later reinforces this idea in one of the most powerful scenes in the game, when—after the ritual and Astarion’s absolutely heart-wrenching explanation of why he took the decision away from them regarding their own children—she tells him: "I never thought a vampire spawn could find redemption… but yes, you will no longer be hunted."

Of course, Astarion is still a vampire. He still has instincts and needs. He likes hunting, killing, and yes, instilling fear. A little, as he puts it.

The difference is that instead of doing it indiscriminately, he directs his attention toward criminals, toward those who harm others. Just like the Emperor.

Even Karlach Mind Flayer redirects her hunger toward a specific category of people—ones who might even appreciate her intervention.

It’s called killing two birds with one stone.

And here I return to the technical side of storytelling—Astarion’s transformational arc is complete, and at this point, he falls into the archetype of the anti-hero: a protagonist in a story who may lack some of the traditional hero’s qualities, such as idealism, courage, and morality.

Typically, an antihero is a rebellious or tormented character with clearly negative traits who often employs questionable methods. However, they should not be mistaken for a villain, as they do not fully descend into evil or possess enough heroic qualities to earn the audience’s sympathy.

However, considering the general setting—where even heroes kill as if there’s no tomorrow and punish villains with brutality—just look at Selûne’s demigoddess daughter, Lady Aylin—I don’t see anything strange or horrific about feeding on criminals.

Quite the opposite.

To conclude, the concepts I’ve mentioned are not something I made up from scratch—they’ve existed for ages.

Astarion’s evil ending is clearly ascension, which, following the rules of good storytelling, still adheres to a transformational arc compared to Act 1 Astarion.

By extension, Act 1 Astarion is different from both the Ascendant Vampire and the Vampire Spawn in the final outcome. The monolithic character does not exist in any story worthy of being called one. And Baldur's Gate 3 is a masterpiece of writing.

Just watched the Baldur's Gate live D&D session from Magic Con and these are the lessons we've learned: 1. Do not let Lae'zel negotiate anything ever

2. Don't try and sell your friends

3. Lae'zel is a bad influence on Wyll

4. Lae'zel will tear into the fabric of reality to give herself extra reactions; do not leave her unattended