#larian knows and perceives us

[amoremagnificentbastard]

Larian knew exactly what they were doing when they created Elminster's Library in Sharess' Caress. PLEASE. Overlapping Lines is an in-universe REAL-PERSON ZINE, for Pete's sake!

[faeries-fires]

⋆⋅☆ Gale's illusions ☆⋅⋆

I've been wanting for some time to make a list identifying the spells that Gale uses during his cutscenes.

There are two spells in this list that most players will be familiar with, Minor Illusion and Mirror Image, because some of the spellcasters can learn them in the game, but most of them are things that Larian didn't include and you won't know about them unless you're a D&D player or you check a list of spells.

Long post under the cut.

───── Minor Illusion ─────

- Level: cantrip - Casting time: 1 action - Range/Area: 30 ft / 5 ft cube - Components: S M (A bit of fleece) - Duration: 1 minute - School: Illusion - Available for: Bard, Sorcerer, Warlock, Wizard You create a sound or an image of an object within range that lasts for the duration. The illusion also ends if you dismiss it as an action or cast this spell again. If you create a sound, its volume can range from a whisper to a scream. It can be your voice, someone else’s voice, a lion’s roar, a beating of drums, or any other sound you choose. The sound continues unabated throughout the duration, or you can make discrete sounds at different times before the spell ends. If you create an image of an object—such as a chair, muddy footprints, or a small chest—it must be no larger than a 5-foot cube. The image can’t create sound, light, smell, or any other sensory effect. Physical interaction with the image reveals it to be an illusion, because things can pass through it. If a creature uses its action to examine the sound or image, the creature can determine that it is an illusion with a successful Intelligence (Investigation) check against your spell save DC. If a creature discerns the illusion for what it is, the illusion becomes faint to the creature.

This one is easy to guess. A small image that doesn't move or make sounds, no point in wasting a spell slot when you can just achieve the same result with a cantrip.

───── Mirror Image ─────

- Level: 2nd - Casting Time: 1 action - Range/Area: Self - Components: V S - Duration: 1 minute - Available for: Sorcerer, Warlock, Wizard Three illusory duplicates of yourself appear in your space. Until the spell ends, the duplicates move with you and mimic your actions, shifting position so it’s impossible to track which image is real. You can use your action to dismiss the illusory duplicates. Each time a creature targets you with an attack during the spell’s duration, roll a d20 to determine whether the attack instead targets one of your duplicates. If you have three duplicates, you must roll a 6 or higher to change the attack’s target to a duplicate. With two duplicates, you must roll an 8 or higher. With one duplicate, you must roll an 11 or higher. A duplicate’s AC equals 10 + your Dexterity modifier. If an attack hits a duplicate, the duplicate is destroyed. A duplicate can be destroyed only by an attack that hits it. It ignores all other damage and effects. The spell ends when all three duplicates are destroyed. A creature is unaffected by this spell if it can’t see, if it relies on senses other than sight, such as blindsight, or if it can perceive illusions as false, as with truesight.

An illusion that looks and acts like the caster and stands close to them. The spell creates 3 copies initially, but they can be dismissed.

─── Programmed Illusion ───

- Level: 6th - Casting time: 1 action - Range/Area: 120 ft / 30 ft - Components: V S M (A bit of fleece and jade dust worth at least 25 GP) - Duration: Until dispelled - School: Illusion - Available for: Bard, Wizard You create an illusion of an object, a creature, or some other visible phenomenon within range that activates when a specific condition occurs. The illusion is imperceptible until then. It must be no larger than a 30-foot cube, and you decide when you cast the spell how the illusion behaves and what sounds it makes. This scripted performance can last up to 5 minutes. When the condition you specify occurs, the illusion springs into existence and performs in the manner you described. Once the illusion finishes performing, it disappears and remains dormant for 10 minutes. After this time, the illusion can be activated again. The triggering condition can be as general or as detailed as you like, though it must be based on visual or audible conditions that occur within 30 feet of the area. For example, you could create an illusion of yourself to appear and warn off others who attempt to open a trapped door, or you could set the illusion to trigger only when a creature says the correct word or phrase. Physical interaction with the image reveals it to be an illusion, because things can pass through it. A creature that uses its action to examine the image can determine that it is an illusion with a successful Intelligence (Investigation) check against your spell save DC. If a creature discerns the illusion for what it is, the creature can see through the image, and any noise it makes sounds hollow to the creature.

The famous spectral messenger that appears the 1st time Gale dies in act 1 or in the epilogue if he sacrificed himself. A spell with a condition to trigger on his death, casted while he was still alive.

───── Project Image ─────

- Level: 7th - Casting Time: 1 action - Range/Area: 500 miles - Target: Any location within range that you have seen before - Components: V S M (A small replica of you made from materials worth at least 5 gp) - Duration: Up to 1 day - Concentration - Available for: Bard, Wizard You create an illusory copy of yourself that lasts for the duration. The copy can appear at any location within range that you have seen before, regardless of intervening obstacles. The illusion looks and sounds like you but is intangible. If the illusion takes any damage, it disappears, and the spell ends. You can use your action to move this illusion up to twice your speed, and make it gesture, speak, and behave in whatever way you choose. It mimics your mannerisms perfectly. You can see through its eyes and hear through its ears as if you were in its space. On your turn as a bonus action, you can switch from using its senses to using your own, or back again. While you are using its senses, you are blinded and deafened in regard to your own surroundings. Physical interaction with the image reveals it to be an illusion, because things can pass through it. A creature that uses its action to examine the image can determine that it is an illusion with a successful Intelligence (Investigation) check against your spell save DC. If a creature discerns the illusion for what it is, the creature can see through the image, and any noise it makes sounds hollow to the creature.

The illusory Gale that guides you to his act 2 main scene. It could be another Programmed Illusion, but I've chosen Project Image instead because this one's eyes don't glow like the other's, which makes me think they were created with different spells. Also because the copies of Lorroakan and Rolan in Sorcerous Sundries are confirmed Projected Images and they look and act similar to Gale's.

I know it's labeled as "Gale's Mirror Image", but it can't be a Mirror Image because illusions made with that spell stay close to the caster and imitate them, but this one is standing there on its own and having a full conversation with the player while Gale prepares the next spell on this list.

───── Mirage Arcane ─────

- Level: 7th - Casting time: 10 minutes - Range/Area: Sight / 1 mile - Components: V S - Duration: 10 days - Available for: Bard, Druid, Wizard You make terrain in an area up to 1 mile square look, sound, smell, and even feel like some other sort of terrain. The terrain’s general shape remains the same, however. Open fields or a road could be made to resemble a swamp, hill, crevasse, or some other difficult or impassable terrain. A pond can be made to seem like a grassy meadow, a precipice like a gentle slope, or a rock-strewn gully like a wide and smooth road. Similarly, you can alter the appearance of structures, or add them where none are present. The spell doesn’t disguise, conceal, or add creatures. The illusion includes audible, visual, tactile, and olfactory elements, so it can turn clear ground into difficult terrain (or vice versa) or otherwise impede movement through the area. Any piece of the illusory terrain (such as a rock or stick) that is removed from the spell’s area disappears immediately. Creatures with truesight can see through the illusion to the terrain’s true form; however, all other elements of the illusion remain, so while the creature is aware of the illusion’s presence, the creature can still physically interact with the illusion.

In his act 2 main scene Gale veils the shadow-cursed sky with an aurora borealis.

The Waterdeep scene that follows in the astral variant of the romance path could also be part of this spell if we bend the rules a bit and let him have the Malleable Illusions feature that only Wizards from the School of Illusion get.

Malleable Illusions: starting at 6th level, when you cast an illusion spell that has a duration of 1 minute or longer, you can use your action to change the nature of that illusion (using the spell's normal parameters for the illusion), provided that you can see the illusion.

As for the Astral sex part and the boat scene, I think those are something else. The closest I've found is the next spell, from the School of Necromancy.

──── Astral Projection ? ────

- Level: 9th - Casting Time: 1 hour - Range/Area: 10 feet - Target: You and up to eight willing creatures within range - Components: V S M (For each creature you affect with this spell, you must provide one jacinth worth at least 1,000 gp and one ornately carved bar of silver worth at least 100 gp, all of which the spell consumes) - Duration: Special - Available for: Cleric, Warlock, Wizard You and up to eight willing creatures within range project your astral bodies into the Astral Plane (the spell fails and the casting is wasted if you are already on that plane). The material body you leave behind is unconscious and in a state of suspended animation; it doesn’t need food or air and doesn’t age. Your astral body resembles your mortal form in almost every way, replicating your game statistics and possessions. The principal difference is the addition of a silvery cord that extends from between your shoulder blades and trails behind you, fading to invisibility after 1 foot. This cord is your tether to your material body. As long as the tether remains intact, you can find your way home. If the cord is cut—something that can happen only when an effect specifically states that it does—your soul and body are separated, killing you instantly. Your astral form can freely travel through the Astral Plane and can pass through portals there leading to any other plane. If you enter a new plane or return to the plane you were on when casting this spell, your body and possessions are transported along the silver cord, allowing you to re-enter your body as you enter the new plane. Your astral form is a separate incarnation. Any damage or other effects that apply to it have no effect on your physical body, nor do they persist when you return to it. The spell ends for you and your companions when you use your action to dismiss it. When the spell ends, the affected creature returns to its physical body, and it awakens. The spell might also end early for you or one of your companions. A successful dispel magic spell used against an astral or physical body ends the spell for that creature. If a creature’s original body or its astral form drops to 0 hit points, the spell ends for that creature. If the spell ends and the silver cord is intact, the cord pulls the creature’s astral form back to its body, ending its state of suspended animation. If you are returned to your body prematurely, your companions remain in their astral forms and must find their own way back to their bodies, usually by dropping to 0 hit points.

I've included this one because I've seen several people refer to the sex scene with this name, and while it's the spell with the closest description, there are too many things off: the absence of the silver cord, the hight cost (2200 gp total), the 9th level (max spell level, learned at 17th+ character level), the ability to go anywhere in the Astral Plane and even use portals, the fact that it is a necromancy spell instead of illusion magic like Gale mentions both times...

Also the two scenes are different from one another despite both sharing the Astral Plane scenery:

On the Astral sex scene Gale and the PC are ethereal figures and there's no verbal component, the glyph in the book seems to be what activates it.

On the Astral sea scene only the boat is ethereal and there's a verbal component, "Astra Navigamus" (we sail the stars). We also know from Gale's words that it requires to maintain concentration, but Astral Projection doesn't.

Gale: Find me later, and I will show you something truly divine. I will show you what a crown like this could mean for both of us. PC: Can't you just tell me now? Gale: Afraid not. What I have to show you requires us to be its only witness, and our minds to share in the most exquisite concentration.

I don't think there's a real equivalent and they're simply homebrew creations.

────── Simulacrum ──────

- Casting Time: 12 hours - Range/Area: Touch - Target: One beast or humanoid that is within range for the entire casting time of the spell - Components: V S M (Snow or ice in quantities sufficient to made a life-size copy of the duplicated creature; some hair, fingernail clippings, or other piece of that creature’s body placed inside the snow or ice; and powdered ruby worth 1,500 gp, sprinkled over the duplicate and consumed by the spell) - Duration: Until dispelled - Available for: Wizard You shape an illusory duplicate of one beast or humanoid that is within range for the entire casting time of the spell. The duplicate is a creature, partially real and formed from ice or snow, and it can take actions and otherwise be affected as a normal creature. It appears to be the same as the original, but it has half the creature’s hit point maximum and is formed without any equipment. Otherwise, the illusion uses all the statistics of the creature it duplicates. The simulacrum is friendly to you and creatures you designate. It obeys your spoken commands, moving and acting in accordance with your wishes and acting on your turn in combat. The simulacrum lacks the ability to learn or become more powerful, so it never increases its level or other abilities, nor can it regain expended spell slots. If the simulacrum is damaged, you can repair it in an alchemical laboratory, using rare herbs and minerals worth 100 gp per hit point it regains. The simulacrum lasts until it drops to 0 hit points, at which point it reverts to snow and melts instantly. If you cast this spell again, any currently active duplicates you created with this spell are instantly destroyed.

Despite popular fandom belief, none of the Gale duplicates that we see in the game is a Simulacrum, they don't fit the criteria:

They are translucent and their voice sounds hollow, as if there had been an invisible successful investigation check.

When you destroy them they disappear with a puff of magic lights instead of transforming back into ice/snow and melting.

Notice that Simulacra clones are tangible, unlike the others from before. They are basically glamoured and animated life size ice/snowmen. They're also quite expensive and elaborate, not something you'd want to cast for a short single use (unless you're super rich I suppose).

That doesn't mean that there isn't any use of this spell in the game, there's in fact one:

That's right, the Elminster we encounter isn't the real one, but a construct made with Simulacrum, charged with finding Gale and delivering Mystra's will and spell. All that complaining about a long and extenuous journey, worn boots, and hunger is an act, an imitation of the real Elminster's mannerism. Makes you wonder what happened to all that cheese and wine that he "ate"...

───────────────────

Bear in mind that the devs have taken some creative liberties and there are lore inconsistencies. More than half of these spells are a higher level than what's possible to learn at that point, most aren't even in Gale's spellbook and, by the Wizard class rules, he' s only allowed to cast the spells that are written on his book and memorized during a long rest. So unless he secretly has with him the spellbook that he used when he was an Archmage or a scroll version of them, it shouldn't be possible to use most of these.

Oh well, sometimes it's necessary to change things a bit because they don't translate well to videogame mechanics and it would make things more tedious and not as enjoyable.

And that's it. If you've made it this far, thank you for reading!

[linka-from-captain-planet]

Florrickology, Part 4: Florrick, Wyll, Ulder, and Character Assassination

We all know it, we all hate it. They did my beloved dirty, used her to shit all over Wyll's quest at what should be a climactic moment, and I will never forgive never forget it.

In Act 3, if Wyll rejects Mizora's offer to rescue his father from the Iron Throne in favor of keeping his pact broken, Florrick will ambush the party, inform them that "Lady Mizora" told her what he did, and seek retribution unless talked down.

This is stupid, makes no sense, assassinates Florrick's character for no good reason, and represents some of Larian's laziest NPC writing--unsurprisingly, in the midst of Wyll's personal quest, and smack dab in what's supposed to be the climax of one of the longest quests in the game.

As I said in previous posts, Florrick being willing to go to the mat for Ulder any day or time of the week is consistent with her other characterization.

Up to the point of this confrontation, the player has observed that she'll follow Ulder to literal hell and back, chase him across half a continent, and become so disappointed in her perceived failure to save him and, by extension, the entire city, that she completely gives up and quietly awaits execution, without even trying to escape (which she probably could do, as a level 11, probably Enchantment School wizard).

All her voice lines and all the things others say about her paint the picture of a loyal and true-blue friend, and a public servant of the highest caliber, "as steady as Tyr's heartbeat" and "as upstanding as the Sword Mountains." She may be sharp and shrewd, and perhaps a bit domineering and curt, but she's not cruel. She may be a bit cavalier, but she's never rash.

She's not stupid. She may be more emotional than she seems.

She has killed someone before, on the spot, for coming after Ulder. It's consistent that she would do it again, even if she had to hunt them down this time and risk being caught by the Steel Watch. In her mind, she has nothing left to lose.

What is not consistent is her being willing to kill Wyll on a flimsy accusation (that she doesn't even really believe if you read her thoughts).

Now as I've mentioned, Florrick doesn't seem to feel any particular way about Wyll; she seems to regard him simply as her friend and boss' son, just a good kid she patted on the head at parades, and when they meet again in Waukeen's Rest, as a valuable asset in rescuing Ulder and saving the city.

And I like this! It highlights that Ulder was Wyll's entire world, and it was Ulder, alone, who failed him and cast him aside. I think this is also part of why there's never any indication that Florrick and Ulder are/were romantically involved, because this would change the expectations for how she treats/feels about Wyll. But as it stands, simply being a woman in the vicinity of a child, even one in need, didn't obligate her to be a mother.

And this the feeling is mutual. In-game, there's also no indication that Wyll had or desired had any sort of personal relationship with her, as he talks about her accomplishments but not, say, seeking her out for advice or spending time with her. He mentions crushing on Stellmayne, but when asked about Florrick, he goes right to "yeah she fucks, she sniped a guy right in front of me once." He only regards her in relation to his father and the city, never himself. She's his dad's confidant and advisor, and an exemplary public servant, but nothing in particular to him.

So, it's not how Florrick feels about Wyll that makes it out of character for her to attack him, but because of how she knows Ulder feels about Wyll.

She says herself, when talked down in that confrontation, that Ulder wanted her to find Wyll and pass his birthright on if he fell, because as many mistakes as Ulder made, and as wrong as he was, and as unacceptable as his behavior was, in the end, he trusted his boy with the fate of his beloved city.

So, Florrick would never betray Ulder by attacking his son, without irrefutable evidence, especially when she'd been told explicitly to trust and help Wyll by the person she respects and reveres the most in the entire world.

As one of the most prominent NPCs in the game, appearing with a fairly significant role in all three acts, and who's been demonstrated to be an unquestionable heroic figure all along, Florrick deserved better than what she got in this blatantly lazy, formulaic scene.

And that's the answer to the question of 'why is this scene so bad?' - lazy, formulaic writing.

That's also probably the answer to any 'why is this Act 3 moment and/or NPC interaction so clunky?' question. This confrontation is Like That because it's how every every NPC Confrontation is: someone is willing to kill you for variably logical reasons, unless you talk your way out of it, and the end result is only nominally different, so it was pointless from the jump. It's the illusion of drama and conflict and a plot twist, not real drama and conflict and plot twist. Of course she (andWyllcoughcough) isn't safe from the "uh oh this game isn't done but we're shipping it anyway so we better make this story beat messy, both under-and over-whelming, and confusing to match the overall tone of Act 3" curse.

So you might then move on to, "okay, well, what's the in-universe explanation for this? How can we make it make sense, considering what we know about Florrick?"

I won't give them credit for implying anything they didn't bother to imply, even though they could have gone several other routes with about 2 lines of better dialogue and a simple animation. So, I think the only true, canonical reason Florrick does this is exactly what's presented in the text. She was approached by "Lady" Mizora, a stranger, told a lie, only half-believed it, slapped a fuckass hood on over her very distinctive freakum dress, went on the hunt, and ambushed the party in front of like 50 human, 5 cat, and 3 Steel Watch witnesses even though she's a fugitive marked for execution.

That's it. There's no further context. Again, nothing implied. As you can tell by this entire series, I will read into anything, and there's simply nothing to read into here.

No indication that Mizora charmed or is controlling Florrick, a simple explanation that could have been easily been introduced with about 1 line, a special effect, and a mocap of her "snapping out of it."

No revelation that "Lady" Mizora has been posing as a patriar and pulling strings in Baldur's Gate for the last seven years, working closely with and maybe kissin haha jk... unless Florrick, making it perfectly reasonable why she'd believe Mizora over Wyll, who's been not only missing BUT cavorting with devils for those same seven years, which is ironic because Florrick had unknowingly been doing the same thing (juicy!). (more thoughts on this)

There's not even really a feeling that Florrick, who again did all that mentioned above for Ulder and her city, is simply just so heartbroken and grieving and demoralized that she's experiencing a mental breakdown and a critical lapse in judgement, grasping at anything to make it make sense or to make her feel in control again, even if she has her doubts deep down. Again, this could have easily been written in with a few lines and some body language. I feel like this is what they thought they did, but the fact is they didn't even though it would have been easy and cost basically 0 extra resources or time.

Clearly, this scene got rubber-stamped because they (painfully correctly) assumed that nobody would care about Wyll's storyline at this point, and his supporting character Florrick with it. They probably just figured that we'd all forget how wack it was when we continued the quest and got gagged by the Emporer being a gay dragon-fucker and also Balduran.

So, what would have made this scene/part of the quest better?

To be clear, better is a pretty low bar as the canonical version full-on sucks. The above suggestions are only what could have made this specific scene (Florrick Confronts Wyll About Killing His Father) better. But really, Wyll's quest, as we all know, needs an overhaul. So, below is what's overall needed to make Wyll's entire quest in Act 3 better.

maintain Florrick's characterization (this post is about Florrick after all)

give Wyll a chance to be a hero in his own story

actually utilize Mizora, who's truly been pretty pointless all this time

provide a sense of stakes--it has to matter what happens

get everything the fuck away from that fucking magic show

I had a whole alternative Act 3 storyline written to suggest, Boss Fight Mizora Avernus and all, but realized just before posting that it doesn't work because it ends with Wyll destroying his pact, and he does sort of need that to remain a warlock for the endgame (being forced to re-class at the 11th hour would be a bit of a bold move). But trust me it was cool and better than what we got.

[meanbossart]

you haven't spoken a whole lot about karlach - what are your thoughts on her? and/or drow's thoughts on her

You're right, I think I just don't happen to have many unique thoughts on her! Also I didn't really pull her into my party often since my durge was already a tank. Either way here's my usual long-winded treatment LOL (SPOILERS, obviously)

She's a really charming character, every single line of hers is golden and of course her story is very tragic. As someone playing the game blind I really "enjoyed" slowly coming to the realization Larian had added a character which just couldn't be fixed - and the one that deserved It the most, perhaps. I do wish there was a little more to her quest since I know she suffered from some cut-content, but what IS there is great. Her dialogue is some of the most insightful out of the cast and I love that she's seemingly the most emotionally intelligent character out of everybody, which contrasts great with the rest of her meathead jock-like presence and attitude.

DU drow and Karlach would have probably butt-heads a ton because he would have perceived her willingness to just let the engine take her out as "giving up". My own belief that the game would CERTAINLY give us a way out solidified that dynamic between them, and by the time I caught onto the fact that they wouldn't, I knew DU drow would have just doubled down instead.

While they were never particularly close, and DU drow was, unfortunately, not the friend I would have liked to give her, I think she left a very quiet but strong impression on him. He successfully brute-forced his way out of everything to the point where he believed to be unstoppable, but with Karlach he could do no such thing, which she tried to warn him about repeatedly and he just didn't listen. My Karlach died at the docks at the end of my original campaign, and I don't think he believed It possible until he saw it happening with his own eyes (I was not given the option to send her to Avernus with Wyll, this was earlier in the game's release) and that's very much canonical to his story. I think it planted a little seed of insecurity in him that would go on to color the fear he's often possessed by of "failing" to save anyone else he cares for, though he isn't insightful enough to put the pieces of that together or yet take much of a lesson from it, and instead just turns it into the one time he's failed to fulfill on his word because he (and ostensibly her) just didn't try hard enough.

[bleach-blood-and-magnolias]

i’m losing my shit over how Larian catfished us into expecting Gortash to be this fucking rogue prince charming with a quick smile or whatever

and then we meet him and it’s literally Billie Joe Armstrong going through a midlife crisis so bad he’s like fuck it, i may or may have not been scheming my whole life to be the sole ruler of the entire world so this is kinda unorthodox but i will literally share my throne with you, a person who’s barely got a clue who i am, if you help me out a little, fuck it i’m so stressed out

and of fucking course his archduke portrait needs to be embellished. he will never admit this because it’s so important to him to be perceived as charismatic, powerful, competent and generally really fucking cool, but this man is TIRED. dude was born with bags under his eyes the size of a fist, lived in literall hell, then hustled and schemed his way into the most vicious level of politics, oh and planning the Absolute heist with Princess Stabs and Sad Grandpa certainly didn’t help. i mean we all know how that guy loves to suffer but let’s also all agree that he’s a MESS

like, he probably hasn’t gotten a full night’s sleep in years and lives off of coffee and cigarettes and vodka for breakfast and very likely cocaine because not even a triple espresso will do it for him anymore. he doesn’t want you to know but that man is EXHAUSTED and getting offed is actually surprisingly good for his mental health because maybe he’s damned for eternity, but at least he can finally REST for a minute

anyway i love him and the moment he looks up while kneeling during his coronation has altered my brain chemistry and made me switch from rat blood drinker to lord raccoon eyes so fast you couldn’t even say nearest and dearest. being a gortash simp is my personality now and i will hyperfixate on this bullshit till the day i die

[y-rhywbeth2]

Elven 'Physiology' and Quirks

Link: Disclaimer regarding D&D "canon" & Index[tldr: D&D lore is a giant conflicting mess. Larian's lore is also a conflicting mess. There's a lot of lore; I don't know everything. You learn to take what you want and leave the rest]

Physiology and quirks | Names & Clans and Houses || Pan-Cultural things: Social life | Time and Age Categories | Homes | Language | Art | Entertainment | Technology || Elven 'Subraces' still a wip || Philosophy and Religion & Pantheons || Half-elves | [WIP]

In my continued desire to procrastinate on reading two novels and cross-referencing about three sourcebooks for drow culture, I met myself in the middle and did this instead.

Also I really need to rehaul some of the lore compilations...

Unlike elves of other worlds, the Tel'Quessir – except drow – are as tall as humans, but finer boned and typically narrower in build – except for aquatic elves. An elf weighs less than a human of the same build and height, which appears to be something to do with their bone density, as elven bones (especially winged elves’) are light (though ‘surprisingly sturdy’). Their fingertips taper, and their hands and fingers are longer than a humans… although I still think saying they’re 50% longer (palm and fingers) is a bit much.

Elves are noted for their androgyny, which goes both ways; there's not much difference in the skeletal structure and elven women are noted by humans for their narrow hips, which led to a comment that it must make childbirth agonising in comparison.

Elves are also noted for their distinctive 'dance-like' motions while walking due to walking on their toes and the balls of their feet: 'Most seemed to have a lilt and swing, like dancers. Ah, that was it—none strode flat-footed; even the tallest and most hurried of the citizenry danced forward on their toes.' - Elminster in Myth Drannor

They don't grow much in the way of body hair - they appear hairless, with the only visible hair on their eyebrows and scalp. Elves unused to mixed company find non-elves disturbingly hirsute.

The shape of their facial features, regardless of ‘subrace,’ are as varied as humans. The only rules of thumb are about their eyes and ears:

Elven ears are always pointy – but can vary greatly in shape and length otherwise. They’re somewhat prehensile; elven children can move their ears, but generally this ability is lost with maturation. Maintaining it seems to be a genetic quirk. Whether the shape or whatever, elves have sharp hearing.

Elven eyes are larger in proportion to their face and spaced a little further apart than human eyes, slightly slanted in a manner that gives them a wider field of vision and more acute vision in general.

If you're using recent editions then elves can see in very low light conditions (able to see perfectly clearly by starlight alone). Drow can see in perfect darkness.

If you want to go by older editions you're looking at infravision: elves, like other beings that can 'see' in the darkness, were able to change their sight to the infrared spectrum, perceiving heat signatures. Drow vision was further ranged and more acute than surface elves'.

Elves aren't diurnal, and have no particular circadian rhythm, they just get four hours in whenever and communities are have a consistent level of full activity all day and night.

The elven olfactory senses are much sharper, as is their sense of taste. Drow raised in the Underdark have a sense of smell on par with humans, due to overexposure to incense and other strong fragrances used in ritual and covering up the fact that living crowded together in caves doesn't always spell great. Elves are picky eaters, both due to taste and texture, deriding non-elven cuisine as ‘over-spiced animal flesh and other abominable foods.’

Elves are biologically wired for music somehow, able to recall melodies flawlessly and engage in music theory , 'the elven faculty for music is uncanny in comparison to most other races,' which they credit to the divine influence of the Seldarine.

While this doesn't always come up in the rules, elves are immune to the paralytic effects of ghouls, due to an incident involving either Corellon Larethian or Lolth, and the ghoul deity Doresain, who in the version of his backstory given for the Realms was a green elf back in -11,200 DR whose recent ancestors were of the nation of Eiellûr and betrayed their people to the dark elven empire of Ilythiir. A rather brutal bastard and slaver who eventually killed and ate the raw flesh of the ruling family of the last surviving green elven nation of Southern Faerûn as part of a pact with the demon lord of the undead, Orcus for eternal life. When Doresain later fell in combat during one of the many skirmishes of the Crown Wars, Orcus brought him back as a unique undead horror and King of the Ghouls and Orcus’ proxy on Toril (so that Orcus could focus on important matters in the Abyss). Doresain eventually became trapped in the Abyss, trapped in service to Yeenoghu when Orcus ignored his pleas to save him (despite his ‘domain’ Orcus despises the undead). Most Torilian sages claim that Lolth intervened and freed him, bringing Doresain back to Toril in exchange for imbuing the drow with immunity to his children and swearing that ghouls would never attack them, which indirectly affected all elves (except for the ‘not attacking’). Others claim he prayed to the gods of his living years, the Seldarine, and they took pity on him in exchange for the same service.

The Seldarine are always depicted as genderfluid or agender – if depicted in art in humanoid form they are shown with two bodies as afab and amab, or possessing both characteristics in a single form. Occasionally a mortal elf is also born who takes after the gods; marked by their androgyny (by elven standards) and the ability to alter their sex characteristics at will, these elves are considered blessed by Corellon and closer to the gods by many elven cultures. They haven’t been given an official word, but the elven word for ‘Blessings of Corellon’ on Toril is ‘Cormiira.’ According to the most popular take on the elven creation myth, the People are born of Corellon’s blood (and possibly Sehanine’s tears as she wept at seeing him gravely wounded), which many elves attribute this as evidence for. The Tel’Quessir do have several other creation myths however.

Elves have an innate connection to the Weave, which is why they're 'the wizard race' and something to do with their connection to the world. Elves are more likely to have the innate ability required to become arcane spellcasters, and some say the Weave is what gives them their lifespans.

Going into purely non-published realmslore from word of god:

The elven gestation period takes two years (this I’m pretty sure is in published DnD somewhere?) Elves tend to avoid being pregnant unless they actively want to and have generally mastered the art of not being pregnant, the threat of being side-lined by shorter lived peoples who have more children and faster be buggered.

The elven diet primarily consists of raw plant matter and fish. The elven digestive system can handle vegetation that others’ cant. They can eat meat, and many do – especially those who grow up around humans, who have developed a tolerance that makes it easier for them to digest – but it’s not a ‘natural’ part of their diet nor does it play a large role. Apparently drinking small quantities animal blood is a reasonably common enough way to consume land animals (I’m not clear on whether this is in the form of soups or beverages).

Elves are severely allergic to cannabis and can't use it, though they have found unspecified alternatives.

While getting it is unpleasant, they are only inconvenienced by bubonic plague and its not considered a dangerous disease.

Elves also draw energy from the sunlight, which bolsters their metabolism, allowing them to eat less and possibly playing a part in their ability to digest previously mentioned plant matter. Access to fresh water (not just drinking it) also plays a part in their overall health. Somehow. Dark elves in the Underdark have adapted over the centuries (or maybe from the High Magic ritual that binds them to it) to draw from the faerzress radiation.

Elven vocal chords can reach pitches higher than humans can reach, and there's a gene that can allow the elf to produce two notes at the same time, which with training allows them to sort-of say two things at once (a 'ghost' vocalisation beneath the spoken words). This is described as 'genetic but not racial' so I assume it can pass to half-elves and any non-elven descendants through them.

---

Reverie/'Eedqa':

Elves do not sleep, unless something has gone wrong (injury, illness, exhaustion). They also can’t be forced to sleep, and are immune to magic that would do so (but not to being whacked over the back of the head and knocked out with something heavy).

- Elves enter a state called the Reverie (or just reverie) in Common, and ‘eedqa’ in Elven. The elf finds a quiet place to relax, gradually tuning out the world and slipping into a trance-like state where they re-experience their lived memories, occasionally interspersed with memories from past lives and visions from the gods – which will be vague and puzzling and probably require a priest to decode, the Lady of Mysteries did not earn that nickname for nothing. - They are somewhat aware of their surroundings in reverie, but pulling themselves back out of their mind is disorienting and waking early is extremely disorienting, much like waking any sleeping individual. Physically, they are immobile, not necessarily lying in a normal sleeping position (sitting or reclining is the norm), their breathing slows into a torpor and their eyes remain open and unfocused, which has occasionally caused panic in acquaintances who’ve never witnessed reverie before and think the elf has died (elves in turn are known to find the 'heaviness' of sleep disturbing to behold).

The only elves who deliberately sleep are priests of Sehanine Moonbow, who occasionally enter the deeper state of unconsciousness to communicate with their goddess, and the majority of drow (whose struggles to achieve reverie have been credited to the Underdark 'fragmenting' their natural instincts, and their inability to relax enough to enter the state).

Elves experience their first reverie in the womb, as pregnancy forges a temporary Rapport between parent and developing foetus where the offspring experiences the parent’s life and learns of their family and culture through them (how much the child can learn varies by parent; quality of education not guaranteed). Young children, lacking experiences of their own, are more likely to experience memories of previous lives unless they share in the reveries of other elves. The occurrence of the first ‘current life’ reverie is a life milestone and typically marks the end of childhood.

It’s very taboo amongst elves to interrupt another elf’s reverie.

-

Communion and Aleirin:

'Elves who lived even in reasonably close contact were so connected to each other through the Reverie and the Weave that they shared at least some shadow of each other’s emotional experiences.'

Elves have something of telepathic abilities, such as the ability to sense their own kind, a ‘sense of welcome,’ ‘warmth’ and ‘safety,’ although this can be obscured. This extends to the ability to enter each others minds and share thoughts, emotions and memory. Although that’s not to say that elves are living in each others heads, nor that they can (or are willing to) do it simply or constantly.

The state of ‘mind melding’ is communion, which is accomplished by sharing reverie while in physical contact (holding hands or pressing palms together, usually). The elven term for communion is apparently quor, however I can’t say for certain that applies to this mystical variety. Communing is credited with the sense of community elves experience, is an important part of elven religion, and they’re noted to anticipate sharing themselves with loved ones and struggle to understand non-elves due to their lack of ability to do so. However, it’s not a state entered into casually, as it requires deep trust and a willingness to be vulnerable with your entire being – you are exposing your every emotion and memory to another. Preparation may take weeks of mundane communication as the elves do away with any prejudices and air concerns to be resolved beforehand. It’s also physically and emotionally draining, and while in communal reverie the elves are entirely unaware of anything but each other and are vulnerable to surrounding hazards. Up to four elves may participate at once.

This awareness of each other lends elves an understanding that allows them to predict each others moods and actions acutely, and aids them to work in sync or borrow one anothers skills for a time (for example an elf who doesn’t know how to speak a certain language may temporarily ‘know’ after borrowing the knowledge from another elf.) Extended use of communion may cause loss of individuality however, as the elves begin to blend into each other.

Elves who isolate themselves from their people - whether this is by their own bitterness, malice, scheming, etc, or if the source is due to external magical affects like the Shadow Weave digging out these emotions (which; Shar, that’s what she does) - lose the ability to reverie and the ability to commune with it. Other elves cannot sense them, describing them as feeling ‘asleep.’

Drow may or may not be capable. They are capable of reverie, which would indicate that they can, they just don't know they can, or plain don't (Lolth would firmly discourage it with torture and death regardless).

Some elves, when they trust each other implicitly, may chose to make the link more permanent – a communion that never ends, in a form called Rapport or aleirin, or aleiryid if the nature of their relationship is romantic. The bonding is permanent, and can usually only be made a single time. Those born of multiple births like twins have rapport with their siblings, but outside of this it’s still uncommon for an elf to make this level of commitment and most are happier with normal, less co-dependent relationships (especially because, if you want to bring in the Complete Book of Elves, the shock of one partner dying can kill the other). A rapport can be made with non-elves, a ranger could even choose to establish one with their animal companion, but such bonds are so rare as to be practically unheard of.

The ability to commune has been attributed to a gland in the elven brain, which produces a magic that veils their minds. At rest it forms a shield that isolates them (and some scholars believe this is where the elven resistance to enchantment magic comes from), but they can lift it or expand it to bring other elven minds in.

The elven resistance to enchantment spells has also been credited to elven culture itself, since magic saturates their world so heavily elves grow up exposed to a constant background radiation of enchantment magic, for lack of a better word, and build up a tolerance. Others have said it’s the elves fey ancestry.

--

Souls/'Ues':

Like most sapient beings who are not humans – or mostly/half-human (excluding half-orcs) dwarves, gnomes or halflings – elven souls, ‘ues’ in elven, are somewhat different to the norm. sometimes differentiated in lore by calling them ‘spirits,’ and do not stay permanently in the afterlife, instead residing in the outer planes for a time (varying from days to millennia) before reincarnating back on the Prime Material Plane. While 5e claims drow are locked out of the cycle, the original lore included drow, and suggested that elves who decide to be evil little bastards in life and bar themselves from Arvandor will find themselves reincarnated as drow (vice versa: a drow who rejects Lolth is unlikely to find themselves reborn in her clutches).

(Elves do not have access to DnD sourcebooks and do not have any concrete idea of this kind of thing, so elven religion and philosophy varies heavily and may or may not reflect these things. Some elves don’t even believe in reincarnation.)

Another traditional side effect was that raise dead didn’t work on elves, only resurrection. Space was made for DMs to hand-waive this if it was getting in the way (because it makes elves expensive to have in the party), and the rule seems to have been officially side-lined for convenience by this point.

--

Ageing:

How elves age has varied by edition and writer. Sometimes they're human aging, sometimes a bit slower, sometimes much, much slower.

In most sources, including 5e core, an elf matures at the same rate, physically and psychologically, as a human, later developing into elven psychological stages as the centuries pass and they outlive the human experience.

It's also been said that Torilian elves are physically mature at 25.

In older editions, including realms sources, elves could age slower, taking between 30-60 years to hit puberty (which lasts another 50-85 years). Psychologically, non-elves are known to find elven youths to be rather mature for their age (due to longer lives and communing with the adults in their lives), though they’re still inexperienced by elven standards and hormonal. Elven children are left to pursue their ever shifting curiosity, instincts and impulses which means they generally don’t master any skills and end up about level with any other race by early adulthood. Drow have the fastest rates of maturation, Gold elves the slowest. Wheras in humans afab are known to hit puberty first on average, elves mature at the same average speed regardless.

Elves also have a mystical land-connection thing and are noted to be shaped by their environments, and it has been said of the latter version of ageing that elves may mature faster outside of the slow pace of elven cultures, particularly in dangerous and stressful situations where they need to grow fast.

Bizarrely, and I’m assuming this is a typo, it seems that the process of elven puberty is a bit like getting steroids because they get strength and dexterity bonuses. Or maybe elven teens are just stronger and more agile than their human counterparts, which is probably more likely if it isn't a typo.

[nika-vincent]

Some of our reflections on the development of Halsin's personality in Bg3. Long post warning.

I can say that this post is something like a continuation of my previous one, which was devoted mainly to romance with Halsin. This time I gathered some more thoughts from my recent discussions with the guys who love this wonderful character, but this time the main topic will be the development of Halsin's personality in the game. Some things about romance will also be mentioned here a little, the moments we found in the game files, and a few more facts from the datamine. So if you haven't completed the game and don't want to get spoilers, then I suggest skipping this article for now. We will be very happy if this review can also help Larian to see some points that could be supplemented or repaired with patches and also look at how the players perceive our beloved bear and what they would like to see with him in the future.

I would like to start by saying that if we compare Minthara and Halsin in terms of the degree of personality development throughout the game, Minthara is prescribed better and even has her own different ways: to change herself for the better or to remain a bad girl. And I'm not gonna say that she doesn't deserve this because most players choose the path of good and there is no point in investing in the development of her character. Not at all. On the contrary, it shows that it is important for developers to take into account every detail in the game, and if players want to play the game differently for a change, they will discover a lot of new things and say: "Oh, dude! Minthara turns out to be not as bad as she seemed at first glance!". And this is really a wonderful move by Larian, which doesn't allow players to get bored and makes them look at situations and the characters themselves differently. (And by the way, if some character is in the minority according to the preferences of the players, this does not mean that it deserves to receive poor development.)

As for Halsin in this case, at the moment not only his romantic content is missing, but also his very development as a character and a full-fledged companion. This can be explained by the fact that he was probably recently added as a companion, and there simply wasn't time for him to prescribe more things that would reveal his character and potential to the fullest. Considering Sven Winke's recent post on Twitter, where he announced that Larian will again involve voice actors to record new content, there is a chance that these flaws will be fixed in patches and Halsin will get more interactive scenes than those he has now. (As far as I know, Minthara is also suffers from a lack of romantic content, as does Halsin, so I suggest waiting for now and following the official news from Larian …)

It's sad to see that new players who don't experience early access called Halsin a rather boring companion compared to others. However, players from early access spoke about him much higher and more positively, otherwise he wouldn't have become one of the popular characters of the community. So, why did this happen? I can explain this by saying that at that time Halsin was just something like an episodic character that we just had to rescue from the goblin camp and he would tell us everything he knows about our parasite and where we should go for further answers then. (And for an episodic character, that would be enough.) After that, we witness how he scolds Kagha because of the rite of thorns. And I think a particularly strong point was that in the case of Arabella's death, Halsin says in raised tones: "As for the Idol? It's nothing compared to life! A mere object, next to one nature's creations! You showed no pity, no remorse. I cannot absolve you!" I've seen people write admiring comments like: "Until that moment, I thought I couldn't love him even more!". The way he expresses his thoughts, shows concern, compassion, or regret and disappointment mixed with anger (because of the death of a little girl that Kagha allowed) - all this showed us the traits of Halsin's character and caused emotions among the players. Someone thought he was too soft, and someone admired his kindness. And that's how it should work, so that the character evokes different or even contradictory emotions in people, anything but boredom or the feeling that something is missing. This is what makes the character interesting, we want to learn more about him, see how he will behave in other situations and especially how he will react to the Baldur Gate City itself. And I can also note that we were particularly interested in his story with Ketheric Thorm, which he tells us about after the Tiefling party, as well as what he feels guilty about and what unfinished business he mentioned.

Unfortunately, much of what concerned Halsin's personal growth in the release version of the game remained not fully disclosed and seemed unfinished, especially in act 3. His quest during act 2 was challenging from a gameplay point of view, but from a story one it was quite touching and helped us learn a little more about Halsin's past and that the spirit of the land named Thaniel was his only childhood friend. We also learned a little about his parents, as well as the reason why he became the archdruid.

But the story of the shadow curse still remained as if unsaid, and also we didn't see any of his interactions with Ketheriс Thorm, which I think deserved to be realized, and were not limited to Halsin's stories only about Ketheric if we ask him. An interesting fact is that for a long time there were hints in the datamine that Ketheric's daughter Isobel died because of Halsin (correct me if I made a mistake somewhere, please). And I remember, I saw there that Isobel was killed by the spear 'Sorrow', the same spear that we can get in the secret vault in the emerald grove. Not to mention that in Halsin's room we can even find his diaries, in which Isobel was mentioned several times. This would have added a lot of intrigue and special opportunities for Halsin's interactions in the plot of Act 2 itself, but for some reason it remained behind the scenes and even if we ask Isobel about how she died, she cannot remember her killer. Although there are some special dialogues between Halsin and Isobel in the game files themselves at the moment, but there are none of them during the gameplay. I dunno why it was necessary to cut or change these things, and it is not for me to decide what to do here after all. But in my humble opinion, it would have added fire to Halsin's plot in act 2. I would regard this as a fact that even such a good and kind character as Halsin can make mistakes, has his own shortcomings and even dark sides. Therefore, before the release of the game, I had high expectations that Halsin would play a much bigger plot role in Act 2 because of these intrigues between him, Ketheric and Isobel than what we have in the game at the moment. The feeling of the whole story being left unsaid is still present in Act 2, but who knows, maybe it can be improved in patches?

When Halsin became our full-fledged companion in the game, we got new options for the dialogues, but very few of his interactions in the future. It's as if the development of his personality in the second act ended along with his quest. Remember what wonderful scenes with companions in Act 1 we watched over and over again when we stayed overnight in the camp. It helped us to get to know them better, to love someone or hate someone. Halsin definitely should not be deprived of this, we still want to get to know him so that later we can draw conclusions about him in Act 3 and help him find his own path, as it was with the other companions. We got to know our companions during acts 1 and 2 to see the end result of what we experienced together in act 3.

What confuses me is that the developers seem to have paid more attention to his sexuality than the development of his personality instead (not to mention that scandalous story of his sexual slavery to drows in his past, and he only tells us about it after we sleep with the drow twins in a brothel in his company). This looks especially sad for romance, because it looks like Tav fell in love with Halsin more for his sexy muscular body, and not for what kind of person he is. After all, even in real life, we fall in love with someone not for having a fine big booty, but for how a person presents themself to the world and how they treats us. I want to add here one quote that I just remembered: 'Personality is much more important, because the external beauty of a person is taken away by old age, but the beauty of the soul will remain forever.'

In act 3, at the moment, Halsin reveals much less, but we can still see some hints. After he appoints a successor to the Emerald grove in his place, and after we help heal the lands from the shadow curse, Halsin apparently has a conflict with himself about finding a new goal. He notes that he does not like the city of Baldur's Gate, he is saddened by the fate of orphans here, he would also like people to see a friend in nature. And there are also curious moments in his reasoning about shadow druids and their methods. But all this remains so far only at the level of discussions and comments that pop up sometimes. And we can only find out at the very end that he decided to find a new goal in helping people and orphans from the city in Thaniel's world. And you know, it's a really great idea, but I have this feeling again that in act 3 we missed a lot before he came to find this goal in his ending. The idea of his personal path still remained unfinished to the end. I also heard that he was supposed to have some kind of quest with a druid circle in the city, well, let's see if we'll have a chance to see it in patches.

Сomparing Halsin with the rest of the party, he still looks pretty unfinished in terms of development by the end of the game. Because each companion has their own personal options for the path of development, which we are able to influence, and we can notice the difference in the change in the character of a certain companion comparing with what they were in act 1 and what they became by the end of act 3. We can see what Shadowheart can be like if she rejects Shar, or what she will be like in the future if she becomes a dark justiciar. Astarion can remain as a spawn, but at the same time preserving himself as a person and not turn into the likeness of Cazador, whom he hated so much. Or we can help him become a Vampire Lord and the power will intoxicate him so much that he will even begin to dream of taking the city itself in the end. Even Minthara, the companion opposite to Halsin, also has her own personal path of development. But with Halsin himself, unfortunately, this is happening pretty weakly at the moment...

We have been discussing a lot lately what would help for the development of Halsin's personality, so that he could be on a par with the rest of the companions. And I'll start with an excellent thought from my dear friend @merrinla, which would give an excellent opportunity for the development of his personal path, which at the moment in the game looks somewhat unfinished (but I still believe in the power of patches, official writers and the love of fans!❤).

Considering that his background is labeled 'outlander', this makes him a person who grew up in a wild environment, wandering a lot, living in harmony with nature, free as the wind. And even his best friend is the spirit of the land, not from the ordinary people. In his youth, he lived this life, unencumbered by responsibilities, exactly before the crisis moment happened, which was a shadow curse that abruptly changed his usual life. And for 100 years, his goal was to heal the lands from this curse. Plus, his duties as an archdruid piled up here and he didn't have time for his own desires at all. "I was forgetting who I was," as he once told us. After the events in Act 2, he does not seem to be eager to return to the emerald grove, but keeps in touch with Francesca to find out news from there. He speaks quite critically about the city of Baldur's Gate, but he has a desire to help people here and make life in the city better. And I think it would be appropriate here to let Tav tell him something like: 'You know, Halsin, it's not for nothing that people say that everything can be found in Baldur's Gate. Maybe you can find yourself here too?' and also try to change his views on the civilized world, because at the moment he is not familiar with this world too well, and we could help him adapt, convince him that the city itself is not so bad, and find himself here. Even the romance with him will look great with this option.

So it would be a suitable solution if Halsin also had his own development paths: 1 - if he trusts our advice and assistance in adapting to the city, which will allow him to become more civilized. 2 - we agree that he is right in his critical views on the city and civilization, and ultimately he decides to remain an outlander.

I think that even his ending with the orphans could also look different depending on the choice of his personal path, as well as in the case of the romance with him. This is a really great idea, and thank you @merrinla so much for sharing it with me!🙏❤

I would also like to give my comment about Halsin's role in our party. Considering that we have often witnessed conflicts between our companions, in Halsin I see something like scales holding the balance. Someone like the 'father' of our party, an adult wise mentor with whom we could consult about our experiences and ask for his advice. And I would also be very happy to see how he will try to calm our companions in case of any conflict.😂 His wisdom and mentoring experience just have to play a role in our party. If we go on a romance path with him, I would really like him to let us know that he will always listen to us at any moment and support us. Maybe we could even unobtrusively take his hand in return for a while to show how much it means to us. It would also be nice if Thaniel could communicate more with Halsin in the camp, and, in the case of romance, in a dialogue with us, he would notice that Halsin cares about us. These cute moments and his modesty suit Halsin much more than excessive sexual innuendos.

I dunno if Larian will do something about the fact that in the game files Halsin should have received more interactions with Isobel. But I think it would be great and intriguing. And interactions with Ketheric would also be perfect here (Girls, don't start a fight until I find my popcorn😅). And it also seemed strange to me that Halsin had no reaction to Zevlor's betrayal. Maybe it's a bug or just another flaw, who knows. But it would also be good to get this scene, even if he was at our party at the time of the showdown with Zevlor. Maybe it would be nice to organize some kind of his reaction to Nightsong, too, given that Halsin learned about her from Aradin, but he thought she was an artifact, not a living angel. Some interactions with our pets in the camp, I think they should be for Halsin too. (Let him stroke Scratch's belly, haha) And also… the arm wrestling scene of Minsc and Halsin when? Just imagine how funny it might look, 'cause even the dialogue with Minsc about it was hilarious.😁

That's all for today! Thank you guys for reading this review to the end, and also join us in discussions in the feedback about Halsin of the official Larian's discord club! I wish great success to Larian and I thank them for creating this wonderful game for us, which unites people and allows us to discuss many things. We love you and hope that you will also succeed in your future projects, and I also wish you good luck and inspiration in working on new content for BG3!❤🙏

[morallygreychaoticneutral]

Well, the last time I posted my opinion on this subject on Tumblr I got harassed so it's why I'm only "active" as an anon. People tend to be very judgemental (on both sides) over this subject because any different opinion is being perceived as an attack on someone's relationship choices. Or judgement over how they play the game, which isn't the case for most of us.

However, I've always taken issue with both "Astarion is poly" AND "Astarion is mono" purely because the canon itself doesn't confirm either one of them. He's not poly just because he allows his partner to have a fling with Halsin. Just like he isn't necessarily mono just because you only romance him in a playthrough. What he is or not is ultimately left for each one of us to headcanon. Like you said, maybe HE will be interested in having multiple partners after the game. Or maybe he wouldn't be. Who's to say exactly?

Again, Larian did a bad job if they truly intended to portray him as poly OR as truly, undoubtedly okay with Halsin. The timing just sucks. And just because he says no when Tav proposes poly with the other companions, it doesn't mean much considering those proposals all come before his act 2 confession, at the time he was performing a lot by trying to be that horny, hedonistic sexy vampire in order to seduce Tav. Likewise, if you date Shadowheart and Astarion at the same time and propose poly to her, she will say "you may be overestimating his desire to share" and "he may seem like a carefree hedonist, but there is something fragile behind the facade" (link: https://www.youtube.com/watch?v=h3HEkbnM_AM - Minthara says something similar. If the writers truly wanted him to be a poly character why did they had two other characters say that basically he's not into sharing?). So these dynamics are vastly different than those when Halsin comes in with his proposal: usually at a time when Astarion takes a break from sex, when he is in a truly insecure position. He may be feeling like he has to allow Tav this since they stuck with him for so long, even after he admitted his plan to seduce them. Even after Cazador when his response is usually seen as being more secure by the fandom, he's still not very enthusiastic. He even says "it is okay if things between us change because of this" or "I trust you to make a decision that won't hurt what we have". How is this him being enthusiastic? Or him wanting this in the first place? I don't know, but if you want to introduce such a big change to your relationship (like opening it), your partner's first instinct being "it's okay if things between us change" aka a hint to a future break up is not a positive thing at all. It's great to hear he will be fine without Tav, but it's also not true that he won't mind if you break up with him (just try the option to see for yourself, if you do it in the epilogue at the Elfsong he gets really angry).

I also want to point out how he allows Tav a lot. If you cheat on him with Mizora all you have to do is say "I'm sorry" every single time he says something and he forgives you in an instant, without even rolling a persuasion check. Yeah, he will try to break up with you but...he forgives so EASILY. You can even have him bite Araj and with the right dialogue choices you'll still be able to keep the relationship. Or force him to eat the astral tadpole. Yes, he learned to say "no" and put some boundaries but Tav can still easily manipulate him.

Simply put, there are far too many hints in the game itself that this isn't something he really wants or that to some extent he is going along with his partner's wishes, at least at this point in time. Sure, he gives Tav his consent but does he really want it? There is a difference between giving consent to a certain thing and wanting that thing for yourself.

I'm sorry you were harassed. Cognitive dissonance can be extremely triggering for some. However, that does not give them license to be abusive.

You have a lot of good points. Which sucks, because if they did intend him to be poly they really missed the mark. And I can absolutely see where that would be disappointing to someone who was expecting that representation.

I agree with what you are saying. He is quite pliable. His boundaries are very blurry. And the personality that I am, that bothers me as well. It very well could be intended as residual trauma behavior. He is so used to just having to go with what whatever decisions others make regarding him that he is still doing it? As someone who was not allowed boundaries for ages. I find myself still slipping into this behavior from time to time.

He is wickedly complex. And I know its silly, his not real. But I even struggled to ask him for a kiss after the confession in act 2. I really needed him confirm he still wanted them. Have a next day interaction where he thanks you for being so understanding, like after the bite scene, and then pulls YOU in for a kiss.

Its just one of those things where you can't please everyone. And we just need to be allowing of how people perceive it through their own lenses. Thank you for the discussion!

[mariacallous]

In a subreddit dedicated to Baldur’s Gate 3, Larian Studios’ critically acclaimed Dungeons & Dragons–based role-playing game, a player posed an important question: “I know you probably heard this here more times than I can count but seriously, why is everyone so horny?”

There was a practical element to this query. In a different game, what is or isn’t horny is largely subjective (what you perceive as horny and what I perceive are probably different), but Baldur’s Gate 3 doesn’t operate on subtext alone. A major social aspect of the game is romancing party members, from the sharp-jawed blood-sucking Astarion to the mysterious Shadowheart. Shortly after the game’s release in August, players noticed that some party members—particularly the wizard Gale—were harder to discourage than others in the dating department. For some players, the especially amorous adventurers in their group were making it difficult to pursue the ones they wanted. Others found the aggressive flirting off-putting. As one player put it: “Gale telling me I'm handsome and sexy in the middle of a cursed shadow forest without any inputs from the player is kinda strange.”

Sex and romance were built into Baldur’s DNA, and Larian leaned into the game’s sexual nature early in the process. According to the BBC, the team even used an intimacy coordinator—professionals who help choreograph intimate scenes and ensure a sense of safety and comfort between actors and production—during recording sessions. There’s even a scene where you can have sex with a druid character … while he’s in his bear form.

Speedrunners were happy to play along, creating an entire run category specifically for how fast you could bed a companion. The top runner, who goes by Mae, told WIRED back in August that it was initially a “joke run.” “I didn’t really feel any pressure to do well or anything,” Mae says. “It was to be funny and put it out there that, ‘Hey, by the way, you can bang in like, eight minutes.’”

The category quickly picked up a following, though Mae still holds the current top record with one minute and 58 seconds. “In romance runs especially, I think it goes against the cliché of some dude assembling a harem of brainless women,” Mae says. “Especially in a game like this where, frankly, the companions have so much more emotional depth than anything we’ve seen previously in video games.”

Still, Baldur’s Gate 3 leaned in a little too hard, even for the developers. Game director Swen Vincke told TheGamer that characters being desperate to jump your bones was actually a bug, not a feature. “The approval thresholds were too low when we shipped,” Vincke said. “That's why they were so horny in the beginning. It wasn't supposed to be that way. We've fixed it since, at least for some of them. We're still fixing a few.” The goal had been to create relationships that were more like those in real life.

Gale was the first character patched to keep his pants on. (He “wasn't supposed to be like, instantly there,” Vincke said in that interview.) Earlier this month, another party member, Lae'zel, was singled out in the game’s notes for Patch #4. “For Lae'zel to decide to romance you, you no longer only need to gain high enough approval from her. You must also have proven yourself worthy through your actions,” Larian wrote. (Speedrunners within the community, including Mae, claim Lae'zel can still be romanced in the same ways.)

The speedrunning community currently has two different categories for its sex speedruns: Pre-Patch 4 and Patch 4+, though the latter has yet to clock any official runs.

Larian created a vast playground for players to explore. There is far more to Baldur’s Gate 3 than lusting after party members, whether it’s the game’s writing, actor performances, or complex combat. Even as Larian has patched out the bugs that made its cast especially lascivious, it’s the community that has carried on the horny torch, finding new ways to speedrun around changes. Players are the one thing you can’t patch.

With the game’s upcoming launch on Xbox, still expected sometime this year, a new wave of console gamers will soon join that community. The traditional sex speedrun may have reached its zeitgeist, but players are far from done. Earlier this month, a speedrunner named “weedmoder” achieved a new record for sleeping with the game’s beddable bear, finishing with a time of 50 minutes and 30 seconds. Their gift to the community was a tutorial of how they did it, posted online—a reminder that, for once, how long you last is all about how fast you finish.

[fatewoven]

KIWI. Im in love with your BIG WET BRAIN!!!!!! The way you write characters, you build whole entire worlds in every single reply. You make characters that have a handful of dialogue trees and NONE of the in-game content they deserve SING with ur writing. Gortash, especially, my betrothed and beloathed, gets so much love from u and I love that. I was talking with another oomfie about this the other day. But dark themes are an important part of art. Triggering stuff, villains, toxic relationships---the world has so much color. Would you paint each stroke with the same shade of eggshell? Would you break half your box of crayons?

You have such a LOVE of this game and its characters. Your thesis, I would say, is to appreciate it MORE instead of merely "fixing it." You expound perfectly to every theme and are additive in all the right ways. You transform the work by creating more of it in more depth. You understand that there are more colors in the crayon box of this game than good or bad, right or wrong, and are willing to take the game SERIOUSLY and ask all the right questions. I honestly feel like your gortash is just canon? Like that's a cliche, but I feel like you just are writing him in a way larian couldn't because the game is just too big already.

And your gortash? Hes just the right level of serious, pretentious, and flamboyant af. His voice and affectation are perfect. Your dammon is so lovable. I read all of your replies to the oomfies, and im always gobsmacked at word choice and presentation and sheer utter style of ur writing. It has swag and yolo. I dont know how to describe it... but the tone has clear, wonderful shapes, like an ice skaters gliding figure 8.

Besides that ur just a great online bestie. U perceive me so kindly, and are such a giving rp partner in terms of communication, plotting, and the things u give me and the rest of us to reply to. And ur just kind and sweet and cool and I appreciate u

// Kenjamin....buddy....pal. I truly have no words beyond a heartfelt thank you. Thank you so, so very kindly for such a sweet gift. It's a great feeling to have fun writing again and the fact you appreciate these little details <3 Wao!! I'm holding you so gently and spinning you around. This got me over the moon, truly. You are a bright light in the rpc as we all vibe and have fun <3

[wizardsix]

hope you don't mind @whats-your-initiative (I'll untag if you want) but you made good additions and I wanted to add on.

I don't use twitter anymore but I do remember when I last used it a month or two ago I saw all kinds of stupid discourse on datwt and one of them Was the age gap between rook and emmrich. how it was weird and all that shit. it made no sense other than the fact that a lot of new da fans are young, and now bioware is trying to appeal to them by forcing rook to be young, thus making it weird themselves for no reason. people are going to be stupid no matter what, but fandom discourse should stay within fandom walls. else, it'll have a influence on your writing whether you're aware or not (a lot of writers get hung up on how their work will be perceived by the masses instead of just focusing on writing a good, coherent story that They want to tell. it's your story, not theirs).

something so painfully obvious about bioware (and even larian) is that they let modern culture and discourse influence their games without thinking for themselves if this makes any sense especially in a fantasy world. (for example how in bg3's early access larian changed wylls personality because of a few people complaining about racist writing, they did not check any sources or talk to any black people if this was true, thus wyll was stripped of all personality and conflict. another example is literally taash, did they ask a diverse amount of trans people if their story was alright? if using the terms non-binary/trans/genderfluid etc made any sense? taash doesn't need to represent every single trans person bc that's obviously not how it works, but the bare minimum was not even achieved in giving them agency and a personality beyond being nb. sure, you can write what you want, but sensitivity reading exists for a reason).

about solas now. as a bisexual myself, I've seen and experienced my share of biphobic bs, so i can confidently say the evil bisexual trope is the least of our problems. it seems like they don't understand the basic idea that if you have a diverse amount of well written characters, it's not homophobic or racist or misogynistic to have evil characters of these groups as well. da2 is full of bisexuals, zevran and lelianna (though I've heard they were supposed to be gay which.. that last minute change is questionable), then inquisition and now veilguard. we have a good amount of non-evil bisexuals, so I can assure you bisexual solas would not have made us go on a rampage.

I personally think his romance would have had more depth if he wasn't locked to female elf, especially bc of what we learn about the ancient elves in veilguard. the reason back then of "oh he misses the ancient elves so so much he only likes elves" (even tho he clearly didn't like anyone especially the dalish until the inquisitor "proved themselves") is weak bc then why does male lavellan not work? I cannot stress this enough, especially given what we now know about the ancient elves. it's fine if they wanted him to be straight, but using us as the sensitive snowflake reason is not a good one, try again.

and yeah we need to stop letting people who don't know how to write romance, write romance.

that one conversation between emmrich and harding and the argument between emmrich and rook..... why is bioware trying to make the age gap an issue and why is their age even mentioned. why are they trying to make rook a fresh-faced adventurer. what if someone is playing as an older character huh. idk what's so wrong about two consenting adults in a relationship but ok

[mybg3notebook]

Astarion and Power - Part 2

Disclaimer Game Version: All these analyses were made up to the game version v4.1.101.4425. As long as new content is added, and as long as I have free time for that, I will try to keep updating this information.

Additional disclaimers about meta-knowledge and interpretations in (post)

The number between brackets [] represents the topic-block related to (this post), which gathers as much evidence as I could get.

Astarion: abuser / victim

Disclaimer about interpretation victim/abuser: I’m not a fan of bringing the allegory to the plain explicit comparison with serious stuff from real life, but the fandom seems to focus a lot on this aspect and therefore I would like to share my opinion on it. This topic may be sensitive for some people. Be aware of it. 

If we are going to engage into the comparison abuser/victim, from the section (Backstory: Mortal Astarion) we can assume that mortal Astarion was developed as an abuser so far the facts we got from the game/interviews. There is little doubt about it with the bits of information we have in EA. Maybe the full game or a retcon of his past may change this in the future. 

As a vampire spawn, Astarion presents a duality abuser-victim that comes from the archetype of the “bad behaved victim”. 

(Squeezing him in the shoulder. You try to connect, to let him know he's not alone- but he twists like a snake.) “No, I don't need your pity. I don't need anything from you. Go back to your wet dreams and leave me be.''

As a slave under Cazador’s power, humiliated and physically and psychologically tortured, he becomes a victim. He displays many of the most common behaviours of traumatised survivors: dismissal of the actions he suffered (humiliation and cruelty), sensitivity or violent rejection of gestures of pity, paranoia (for the abuser to appear at any moment), reiterative dreams focused on the abuser or their tortures, pride that may reach into arrogance of having survived tough situations. Considering that survival mode is his default, he can turn any of these aspects into tools to manipulate any potential benefactor (he may care little about). As long as he has a protector, he would do anything at his disposal to keep pleasant and agreeable to that benefactor (this characteristic is a permanent, constant, and obvious trait in his character).

But he is not a mere victim, he is also an abuser. And this aspect has been studied in psychology and sociology: it’s not a surprise that a good amount of abusers were victims before. There is a psychological process that can make victims prone to harness as much power as they can in order to avoid the abuse, and in doing so they become abusers. The fact that they can inflict similar or the same trauma on someone else, shifts the power imbalance they had always perceived in their life: the ex victim—now abuser—finds psychological relief. They find a way to perceive themselves as not powerless anymore, and this process can cross limits, making them enjoy when causing the same torture they suffered before. This is the (extremely brief and simplified) process known as the transformation of victim to victimiser (in a general violence-related way, not necessarily focused on sexual abuse), which tends to affect, so far the statistics show, a group of victims. 

With this brief introduction of the topic from the real life (this is why I dislike so much these comparisons, serious stuff brought into a fantasy world always feels like dismissing the real life issue) we can understand that Astarion has acquired a twisted taste to enjoy the same torments he suffered on himself, but applied on creatures he considers lesser: animals and weak creatures [3,4,6,7,11]. There is pride in his survival [14]: he follows the philosophy: “if I could survive it, you could do it too, otherwise, you must perish”.

He enjoys humiliation [6,10], despite being one of the most sensitive aspects that could trigger a violent reaction in him when Tav tries to humiliate him (dialogue about the Bedchamber Master). He enjoys the power he can have over others, over their wills [11], and aspires to have the control of the tadpole, at first to be free of Cazador’s influence, but as long as the game progresses, his intentions become clearer: he wants to control the tadpole to become powerful: the most powerful vampire of Faerun and bend everyone’s will [12]. This aspect is also ironic and hypocritical since Astarion displays violent reactions against mind control or against any intervention of his mind, so it’s something that triggers him in particular (video here).

He also has a taste to enjoy cruelty on animals [4], maybe because of all the resentment he has against them for having been the only means to sustain himself (he is directing his cruelty and hatred to the wrong group of living creatures though). And he also finds entertainment in murder and bloodshed [2,3,13], just because of it, most probably because all these abuses are proofs that he is now “more powerful” than those suffering it. However, part of this could be explained due to the Dark Desires element of the vampirism, to be fair. But considering Astarion’s backstory, I would say that vampirism only deepens his already evil traits.

Also, as a comment aside, I like to highlight how all this characterisation defies the romantisation of the archetype of the “good victim”. A good victim is—explaining it briefly and oversimplified—the one who encourages to spread goodness, self-sacrifice; their pain is hidden and/or used to improve, tends to be a highly empathetic person in front of similar abuses they suffered. It’s the antipode of the “bad behaved victim.” Which is basically all what we see in Astarion: selfish, violent, whimsical, cruel, psychopath.

In conclusion, we can see Astarion as a vampire spawn who embodies the duality of Victim-Abuser. 

However I would like to note that this is not a char where we can see how the victim becomes an abuser exclusively. In Astarion’s case, it is even more twisted because in his past he was a victimiser. His character lies on a Schrodinger duality: he was an abuser when he was mortal, he is an abuser and a victim at the same time as a vampire spawn (his torments can be understood as poetic justice since Astarion embodied the—corrupt—Justice himself), and he aspires to retake his abuser position in the future (so far EA allowed us to see it or the description of his characters in Larian’s web page), enjoying all the potential that the power of the tadpole can give him to “bend the will of others''. 

Astarion’s story represents topics that should allow us to think about how abusers are created, how they could also be victims, and how victims are not always free of evilness. Astarion also embodies the concept of how far punishment makes sense, how you can punish the abuse if there is no justice, how to punish evilness when it’s placed to have control of the Justice itself. How could we understand the punishment of evil creatures when there is no repent but a deepening of their evil nature? And finally… Would any victim not desire for their abuser to have a punishment like Astarion’s? 

I like to think that Cazador also represents the “modern prison system”, where criminals are gathered in panoptic structures (in this case, Astarion’s mind), tortured in many ways, while society expects them to recover. There is also the concept of how and when recovery is not possible anymore, because let’s be honest, saving people from dark paths is not always possible. Real life psychopath, serial rapists, and a broad amount of creatures who revel in torture and murder are beyond salvation. If we consider Cazador and Astarion as mirrored figures, it makes us think about how much of all of his story is about the eternal cycle of violence and about evilness without salvation. Also, this reflection of one on the other makes us believe that if there is no salvation for Cazador, there shouldn't be salvation for Astarion either; if Astarion can be saved… Cazador should too (after all, we don’t know anything about Cazador’s story). So many things to think about.

All these aspects and topics to think about are what make Cazador-Astarion dynamics worth understanding with a realistic and dark perspective of evilness, without woobifying Astarion as sadly a big part of his fandom does. 

As a note of colour to finish this section, it’s interesting to re-read the paragraph I had written in the first part (Astarion and Power - Part 1) where I briefly described Cazador. If we replace Cazador by the word Astarion we will obtain a curious result:

>>>Astarion has a particular pleasure for control, especially the one related to people’s will (we can see this pleasure progresses over time, increasing it. His need for freedom turns slowly into wanting to have control on everyone, because with power he can do everything he wants to). He enjoys cruelty, humiliation, and torture (read the analysis post done (here), there are dozens of facts showing it). He enjoys playing psychologically with his victims. He also likes to give false hope, making his victims believe that there is hope, removing it right in front of them (the Arabella’s approvals about making her parents believe she is alive when she is not, Mayrina’s hope of reviving her husband).

There are so many questions left in the air: has Cazador imparted Justice? Is 200 years too long for a punishment? I don’t believe there is an easy answer here. First, because we are mixing serious real-life dynamics in a fantasy setup, with the twisted componen of vampirism (a fantasy element always considered an allegory of abuse, power, and rape) and second, despite the analogy is there, and the comparison can be done lightly, Astarion has a particular backstory, with a particular amount of meta-knowledge that makes those answers even more complicated. 

Astarion’s Pain and Shallowness

Back scars scene (full Datamining info)

A pair of videos that pjenn has posted about Astarion’s scars on his back (1) (2) shows that he needs help to read it since he can’t see it in reflective surfaces due to his vampire nature. We get from the narrator: 

* He might be sneering, but you can see pain in his eyes. He needs help, but doesn’t know how to ask. *

What we can infer from this is that Astarion, whether mortal or spawn, never asked for help, and if this is true, I’m confused. If he truly doesn’t know how to ask for help… what had been happening with all the previous interactions he had with Tav? Implicitly asking for help against Cazador? The only answer I have to explain why 25 hours of game with Astarion asking for help against Cazador are suddenly erased and now “he doesn’t know how to ask to”, is that all those 25 hrs are about manipulation. Not a true, honest, clean asking for help. There is not much to say about this scene since it’s entirely under work so far. 

Mirror scene (full Datamining info)

This scene is mostly about vanity and, again, manipulation. 

He doesn't remember the colour of his eyes, and he barely remembers his face. As a vampire, he can‘t see his projection nor cast shadows. He explicitly says that he misses vanity, and even though it may be an honest loss he feels, he doesn’t miss the opportunity to use this moment as another hook to throw at Tav to keep them under his control as well as testing how deep his charm has reached Tav (If Tav shows appreciation, Astarion knows he keeps them under his thumb).

This scene basically shows that, even though evil characters/abusers also suffer (maybe the game would make us reflect eventually about Cazador’s pain?), and Astarion is stating his pain for losing things he appreciated: petty vanity (he can’t see himself in a mirror) and his memories (he has no memory of the colour of his eyes and his face is vague), he is still using all these moments to keep on working on his survival manipulation:

“(Vanity) is an indulgence, I’ll grant you that, but a weakness? A well-presented face can open a lot of doors.”

He has a personal drama, as he stated it at first, and the focus of all his conversation is always about how what he lost was a means for an end too. 

If Tav is the one engaging into being his Mirror, Astarion engages to appraise the reach of his presence in Tav. If Tav simply states it’s a decent face, Astarion will push the engagement for that appraisal. If you mock him about his age and skin, he won’t be offended (after all the moment is not meaningful for him, it’s shallow), and he would insist on a proper praise, because he is trying to taste the ground. 

The moment was meant to be used, and Astarion did it. It was not special to him:

"Mirrors are not much use, but being reflected in someone's else's eyes? I could do much worse.

If we do not derail the conversation in the funny moments where you can mock his beauty, age and skin, we keep gathering more information about what Astarion values the most:

Tav: “Is it all what you want? shallow praise?” Astarion: "Hardly, there is also gold, sex, revenge, quite the list, really. But failing any of those, I will always settle for shallow praise."

There is another option in this scene where Tav says that vanity is a reasonable price for vampire powers, but for once, Astarion is not so eager about this power, because it comes with Cazador. He knows that the price is way much bigger. 

Tav: “Vanity is a small price to pay to have vampire powers”. Astarion: "To you. To me it's just another thing that Cazador took from me".

The only moment when you can get a more emotional reaction is when you mock him about age/beauty/skin. That is how shallow this scene is. If you are a githyanki and your compliments are a list of raw facts about his persona, even if they are good or bad, Astarion can’t appraise Tav with that, and gets frustrated. 

Personally I think this scene has little value per se beyond the comedy, and even less value in terms of lore when you have Disguise spell available for so many characters. Anyone can disguise themselves as Astarion and he would finally see what he looks like… so… more reasons to show how cheap and shallow this scene is. Maybe that was the intention. Maybe it needs more work since, after all, it’s datamining info. There is not much to say about this scene since it’s entirely under work so far. 

The concept of Redemption/endings 

Among the (Datamined information) we have a set of gems under the name of Drunk bear (1) (2) (3) scenes, which speak more about Astarion and his relationship with Cazador and Power.

Tav: “You can start over. You can be better than what he made you.”

Ast: “Exactly. I can be better than him. Stronger, more powerful, more- oh, you meant “be kinder”? Pet bunnies, that sort of thing? I’ve no objection to being nice, of course. Once I have the power to bend others to my will.

T: “You think power lets you do anything free from consequences?”

A: “Well… yes. You can’t look at the world and tell me I’m wrong.”

T: “The strong have a duty to protect the weak”

A: “They’re doing a piss poor job, then. The strong had two centuries to pluck me from torture, but no one came. No, it was the mind flayers that rescued me. They gave me a gift: the strength to take my own freedom. I’m embracing this power- you should too.”

T: “You are free now. That’s what matters.”

A: “Is it? What good is freedom if I'm always watching in the shadows? No. I will be safe when I'm powerful enough to grind cazador into the dust. Powerful enough to do whatever the hell I want.”

T: “Power corrupts. You’d do well to remember that.”

A: “Oh I hope so. A little corruption sounds fun. I spent centuries as the victim of a corrupt man. It was the mind flayers that plucked me away from that.”

So far we see in this scene, Astarion reinforces his evilness, his desire for power, not just enough to save himself from Cazador’s claws, but to control other people, even though mind control is a triggering effect when it affects his own will. I believe in this interaction we see the contrast of the story that Astarion narrates mainly: the abuser who found a more powerful abuser. We shouldn’t forget he comes from a past where he was a corrupt magistrate. These words have almost a hypocrite meaning here. Astarion was a magistrate, by definition, someone who held power and should have helped those in despair, but he was corrupt and did not care. When he became a spawn, he ended up on the other side of the imbalanced power. He was the one asking for a powerful entity to help him, and none came, suffering a similar fate of despair than those who sought in him the concept of Justice and Power Used For Fairness. Like Astarion’s victims found freedom when a twisted creature like Cazador was incorporated into this situation, Astarion was free when the Mind flayers saved him from Cazador. 

I will not repeat this again: Astarion, so far in Early Access, looks like the story that could explain why Cazador is who he is. These scenes bring once more, another of the many proofs along the game where we see that Astarion has not learnt anything from his torment, he has not improved, he has turned into a more twisted and evil man than he was when he was a mortal magistrate, and there is no intentions to become a little more sympathetic. 

This brings me to think that, at least in EA, glimpses of future paths for Astarion may all be related to different degrees of evilness. 

First of all, we need to remember that Astarion is an evil character, and if we assume that what Sven said in several interviews doesn’t change, Larian is going to break the style this worked in bg1 and bg2, not making big shifting of the alignment in companions. For this reason I think these endings would entitle variations of evilness.

Astarion keeps repeating over and over his opinion about power as the only means to have access to his freedom. And as long the game evolves, he began to reinforce the importance of having power to “do whatever he wants”. Considering his tastes (how much he enjoys cruelty and bloodshed) we can agree that Astarion “doing whatever he wants” is not a good thing for Faerûn. He finds murdering a fine show, an entertainment. Certainly Astarion is a child of Bhaal in his fullest. 

He even mocks Tav when they comment about looking for self-improvement. “I can be better than him. Stronger, more powerful, more- oh, you meant “be kinder”? (...) Once I have the power to bend others to my will.” This is Cazador speaking. 

So, considering these details, I would suggest (predict is a too strong a word for this) that we have chances to three different kinds of endings and their variations:

The first one, screaming in all what Astarion does: Astarion becomes a full vampire and ends up as the next Cazador. If his approval is high (or some hidden requirement is met) he can turn his lover into another full vampire. If these requirements are not met, in a spawn, repeating the cycle that Astarion suffered but now, on Tav. 

The second one could be with Astarion killing Cazador remaining as a spawn and an agent of chaos and bloodshed. Maybe his relationship with Tav may help to have certain control on him (since we had seen that Astarion so far has been asking permission to kill npcs when the situation arises, so the MC could be turning into a master of choice.)

The third one, finding the cure of Vampirism, and letting Astarion continue with his life of evil corrupted magister. 

Some people ask about the possibility of a Redemption arc. I hardly see it (especially if I keep in mind how bg1 and bg2 worked, they never offered a “real” redemption arc, just small shifts here and there.)

Redemption could be acquired, according to these fans, using two mechanics. 

Astarion feels compassion out of the blue. He starts to have guilt for his past sins and develops empathy, despising cruelty. How? Who knows, so far in EA it has not been seen even once a hint, a scene, a bit of meta-knowledge in that direction. Honestly, so far we’ve seen, this option seems impossible to me, because Astarion has tons of chances to use the meta-knowledge of his approvals and disapprovals to show regret and empathy, and never happened. His character was always focused on himself, his vanity, his pain, his entertainment (which implies constant approval of cruel actions and torments and humiliation to others, especially the weak ones), his survival. If there is a character more far away from empathy right now in EA, it is Astarion. How do you start a redemption arc without the character showing compassion? No way.

Cure Vampirism. Vampirism is a curse, and therefore in the Forgotten Realm can be cured. But this, under no circumstances, can be considered a redemption arc. There is no redemption at all. The curse is lifted, and Astarion can return to be the same cruel magister he was before. No arc about remorse and empathy. 

His character is the story of an abuser who found a greater abuser and became a victim of the latter, seeking to return to his previous power position but stronger. Despite suffering this abuse, that could be understood as poetic justice (more like accidental justice) at certain point, he never developed empathy for those sharing his conditions. In fact, he cares little to inflict on others what he has exactly suffered. I hardly believe there is something else going on “in layers” in him at the moment, since the meta-knowledge provided by the approval/disapproval shows otherwise. My point is, I see little material here showing change. But again, this is EA.

We can see how this exact detail is managed with Shadowheart, from her we know even less than with Astarion because her memory was erased, but so far, we know she has some soft spots that were never shown explicitly, so Tav is oblivious to this information while the player knows it. 

This post was written on April 2021.  → For more Astarion: Analysis Series Index

[lairofsentinel]

Ok since Mystra came back in 1487, and the game is about 1494, would that mean she immediately went after Gale? Like she was dead until 1487 so... if gale was 20 or younger, 18 when that happened he would be early 30s? I just want to know companions ages...

Ok, this is a long, LONG answer. I've been thinking about this like a month ago, when I was working on my fic. I will show you the different hypotheses I work with, their cons and pros. 

A warning: all this is my personal headcanon and my personal opinion, it doesn't mean it's the “truth”.

[Baldur’s Gate 3 Early Access, Spoilers]

I think you are using some dates a little different or the sources I'm using are wrong.

What we know as canon:

From wiki:

Mystra returned to the Forgotten Realms in 1479 DR. A vestige of Mystra had survived her death in 1385 DR, and was guiding her Chosen to aid in her renewal.

From Forgotten Realm wiki:

In 1479 DR Elminster and Storm restored the Simbul's sanity by feeding her a Blueflame item. After her mind was restored, she charged both Elminster and Manshoon to work to gather all the Blueflame items together, possibly to restore Mystra

Conclusion: Mystra returned in 1479 DR

Another bit of canon: Baldur's Gate 3 takes place in 1492

From Forgotten Realm wiki:

The game takes place as of 1492 DR, and is defined as the "current year", as is stated in a tollhouse ledger. The ledger can be found under the Order of the Gauntlet's makeshift base.

This is one of the “canon” inconsistencies that enrages me, since the game shows it takes place after “the descend to Avernus”, which happens in 1494. Therefore, Larian saying this is placed in 1492 when featuring the ending of the descend to avernus in it, only puts us in a situation with a strong problem in its coherence. I'm just ignoring this by now until Larian corrects themselves. Or  they say something on the matter. So far, I will stick with what the game and its wiki show.   UPDATE: Apparently the one with problems in their date is Descend to Avernus, according wiki: 

 Canon material provides two distinct dates for the events described in Baldur's Gate: Descent into Avernus: the adventure itself, described in chapters 1 through 5, takes place in 1494 DR, according to events mentioned in pages 7 and 47, while the Baldur's Gate Gazetteer describes the city as of 1492 DR (p. 159).

Conclusion: BG3 happens in 1492 DR

Now we are going to proceed to the hypotheses:

Hypothesis one: Gale is around 40 years old.

Reasons: This is my personal headcanon. By the way his face wrinkles, I have the feeling he is closer to his early/middle 40 than his middle 30s. Those crow-feet speak volumes to me. It's true that wrinkles depend a lot of the type of skin you have, your nutrition, your health, your level of stress, and your genetic. There are people who has deep wrinkles in their 20 or a baby-face in their 50s. But statistically speaking, using the average concept of how population gets wrinkles over the years, I'm inclined to think he is in his 40.

If BG3 happens in 1492 DR, and he is 40 y/o, this means he was born in 1452 DR.

Mystra returned from death after 1479, when Gale was 27 years old. This means that Gale's involvement with Mystra happened when he was 27 y/o or older [nothing says that the affair had to happen in that same year, right there after she came back... it could have happened several years later]

Pros: This theory fits a lot more the wrinkles we see with Gale's current age, in my opinion.

Cons: 27 y/o is not “a young man” age in the sense Gale explained during his scene.  Also from a design point of view, and considering the amount of stress and fear that Gale has been living during his last decade [at least], he should be displaying some grey hair as well. First grey hair tends to appear [once again, all this is pure statistical observations in the white population] around their 35's. And it's also well known that constant stress tends to accelerate them, so more evidence against this concept: if he is around 40 y/o and lives stressed as fuck as he has explained, he should be displaying a good amount of grey hair. Maybe we'll see them in a future patch? Maybe not. Only Larian knows.

Hypothesis two: Gale is around 35 [30] years old.

Reasons: This headcanon implies that Gale has more wrinkles than the average of people in such age. But then again, we can't assume this is a rule set on stone. As I said before, skin and genetics depend a lot in the way we age. This age sounds adequate for not displaying grey hair yet, but then again, he is under a lot of stress. It would be expected to have premature grey hair under such conditions.

If BG3 happens in 1492 DR, and he is 35 [30] y/o, this means he was born in 1457 [1462] DR.

Mystra returned from death after 1479, when Gale was 22 [17] years old. This means that Gale's involvement with Mystra happened when he was, at least, 22 [17] y/o or older.

Pros: This theory fits a little less in the amount of  wrinkles we see with Gale's current age in my opinion. It justifies a bit better the lack of grey hair, even though I prefer the idea that, no matter his age, after the orb event, his stress is constant and that should cause premature grey hair. But this is personal taste.

Cons: 22 [17]  y/o is certainly “a young man” age in the sense Gale explained during his scene. I know 17 y/o may sound weird, but we can assume two things: 1) Mystra gave a shit about it [she is a goddess, she cares little for mortal details] or 2) Mystra waited a time before whispering in Gale's ears. Pick the one you prefer. In both cases, 17 and 22, fit perfectly the concept that he was too naïve and young to see the true weight of his involvement with Mystra.

Hypothesis three: Gale is ancient. As a wizard, he can extend his life with magic, artefacts, and potions.

Reasons: This headcanon implies that Gale has lived the Spellplague, and his affair with Mystra happened before 1385 DR and before her death. It could have happened at any age.

In this scenario, since he would be under some magical effect of longevity, we can't even guess his current age, and  his few wrinkles [for an ancient man] and lack of grey hair would be justified by such magical effects as well.

Pro: This theory fits well with whatever inconsistency in his design that could suggest or not certain age in Gale's apperance.

Cons: We are completely lost in the timeline, and we cannot make any decent estimation

I personally do not support this theory because 2 reasons:

When Gale narrates the story of “the little silly wizard”, he explicitly says “not so long ago” when he explained his affair with Mystra. On the other hand, when he explains Karsus' folly, he explicitly says “Long, long time ago”. It's evident in my opinion that he perceives the times of Mystra's death as something that happened too long ago, while placing his own youth in a more recent time frame.

If Gale were ancient, he would speak of the Spellplague time in a more dramatic way. Since Magic and Weave are so important in his life, that historical event should have scarred his mind deeply.

Final conclusion

I personally like the idea of Gale being around his 40. It's true it doesn't fit well when he describes himself as a “young man” during his affair with Mystra, but I think his current design fits more to a man in his early 40. If you read my DOS2 metas, you will also know that Larian is well-known to overlook details of this nature or simply ignore their own lore, so incoherence is something I always expect from them, especially when we do analysis with this freak level of detail.

Gale being 35 y/o or younger is also valid since it's an hypothesis that fits much better the concept of “young man”, though he looks a lot more aged than he should be. One could assume this premature ageing is caused by the stress of the Netherese infection in his chest, but in that case it should be fairer to add to his wrinkles a stronger presence of grey hair.

I don't support at all the theory of Gale being ancient.

[verigayo]

Alright figured someone would bring up Stelmane so let’s address it.

Before I begin I would like to point out two things:

1. In order to get this information revealed to you, you must act with severe distrust to the Emperor often by bringing up how untrustworthy it is as a mindflayer.

Both of these are things I addressed as a shortcoming of a reductive view of the Emperor as a character. The Emperor at this point understands you only perceive it like the other mindflayers despite its efforts to assist you so it acts like one. I will address more later why I don’t believe its threats given in this scene so back to this one later.

2. I never indicated that the Emperor was a good person in my original response. Just that it is so often reduced to yet another scheming mindflayer when it has much more going on. I do absolutely believe that what the Emperor did to Stelmane was fucked up, there’s not really any way to refute that. The Emperor is, in my mind and I definitely believe in the minds of Larian, a neutral character. It may have some schemes of its own but ultimately its main goal is to retain its freedom from the Elder Brain and stop the Grand Design. It as Balduran has a legacy to uphold as the creator of the city that has been changed as it has changed with its new form. Just because it remains true to this intent does not inherently make it evil. But enough beating around the bush let’s get in depth.

So yikes. This is bad right? All this stuff about how you are its puppet and will do as it says. How can you possibly defend that? I mean it’s not easy but I’m going to give it a shot.

I want to draw your attention the specificity of the line, finessed my methods. The Emperor is finessing its art of manipulation by merely talking you into this right? It then goes on to say all the lines about how it is in control and it will force you to take the tadpoles. The thing about all this in reality as it is shown by the game itself, it is a bluff.

The Emperor NEVER forces you to do ANYTHING. Even when you are literally going out of your way to obtain the Orphic Hammer needed to free Orpheus which will ruin the Emperor’s plans, it never forces you to do anything. And listen I hear you now saying “oh well that’s just because Larian doesn’t want to take away player agency it’s just how the story is set up”, I still don’t really believe you. Like listen maybe Larian comes back in a couple years with an update where the Emperor reacts and tries to take control but a) that’s just speculation and b) a big part the story nearing the finale would just kind of fall apart. So what I’m doing right now is analyzing what we have and what we have is fascinating.

The Emperor in this moment is trying to intimidate you not just because you rebuffed it but because you threaten everything its planning to do. You threaten its one chance to destroy the Elder Brain and be able to return to Baldurs Gate. You essentially are threatening its freedom which it reacts very strongly against. But again, it never actually DOES anything to you. Because likely at most it could only really control one person and if it did control you like it did Stelmane, your companions would surely discover it. So essentially it is backed in a corner because it knows it can’t actually control you and still accomplish its goal. It HAS to have you willing to work with it and if it being up front about its intentions directly in this way won’t work than it will use what it can to scare you into subservience. The Emperor knows this is a failing tactic, seeing as how it immediately ends the conversation as soon as you react with hostility to its threats. But that’s all it really has. Empty threats and its appearance as a mindflayer to intimidate you. And when you step down the path of freeing Orpheus, the Emperor is forced into its absolute worst position.

Originally I thought it was kind of stupid that the Emperor turns to the Netherbrain if you free Orpheus but there’s not really another choice. It either stays in the Prism and is murdered by Orpheus and you or tries to survive the battle with the Netherbrain. And I mean basically as soon as it leaves the Prism it will be captured by the Netherbrain’s control so that’s all it has left. Even if it wants freedom more than anything there’s no option where it remains free and alive because of your doing.

And with all of that addressed I would like to return once again to my original point. The Emperor can be either an ally who empowers you and helps you until the end (while also relieving the heavy burden of someone having to become a mindflayer to control the Brain or making Gale sacrifice himself) or a very temporary ally who acts callously towards you until it is finally betrayed. There is so much nuance to the character that I would say a lot of players never actually see or acknowledge because of the reductive nature of dnd as a framework. Mindflayers are evil manipulators in the lore so even when the one who is actively helping you tries to reach out, it is clearly yet another tactic of manipulation. And Larian knows a lot of people are going to react like this, I mean pretty much all the companions are like “oooooh I don’t trust the Emperor, the mindflayer is evil surely.” And so when you choose to go down that road, they give you a scheming mindflayer, even if it ultimately remains powerless to actually fully force you to do things. But the important thing is again, if you return the Emperor’s trust with yours, you get an ally who will help and protect you. It reacts entirely up to your choices and it is up to you if you still believe in the assumptions inherently baked into the game world about mindflayers or if you believe the idea that the rogue aspect of this mindflayer has more going on than it seems.

Some bs I got rattling around in my brain. (Bg3 spoilers)

I really hate the theories abt the emperor being a super genius manipulative asshole because it’s just so reductive. They figure since the emperor is a mindflayer it must be out to get you. And you can never trust a mindflayer! So then they go thru the whole game refusing and rebuffing the Emperor’s trust and then point and say “SEE SEE LOOK ITS JUST TRYING TO MANIPULATE YOU.” It literally makes no sense because literally giving the emperor even a tiny bit of trust NEVER bites you in the ass. If you at least don’t tell it to die every second it appears before you it will go thru the whole adventure supporting you. The only thing you could say it manipulates truly on is its appearance (which it does obviously to make sure you can even fight the brain) and killing Orpheus. But killing Orpheus is only a really negative thing if you think the Gith are a better ally than the guy who has literally stayed by you the whole time. And I mean if we’re using the dnd lore nerd standards when talking abt illithids and lack of soul and inherent evilness; the Gith are basically just a non tentacle illithid. They literally want to do the grand design but for Gith instead of illithid. And just because Orpheus says oh I’ll always remember you brave warrior that freed me, doesn’t change the fact literally they are trying to control the world.

In contrast if you ally yourself with the Emperor literally when it has the chance to completely fuck everyone over and dominate the brain and complete the grand design it never does. If it was some evil mastermind why would it not do this. It’s all about freedom for the emperor and people think that it’s about control but it’s not. The emperor comes before you and presents itself and its ambitions multiple times once it is revealed for what it is. The only real hiding factor is the whole balduran and ansur thing which ultimately? Does not affect anything really. It is just a past, one that is filled with grief and hardship. Not fully divulging this information is no sleight against it because it literally only makes the emperor more interesting as a character.

And this is where dnd as a setting really REALLY struggles in portraying the depth of a character. Due to its inherent struggles to deal with the very blunt and simplified version of fantasy that it was originally created with, assumptions are abundant in nearly every race in the game. For example, as a drow you are automatically assumed as a follower of the absolute or some sort of nefarious figure. Many characters will literally react with increased suspicion upon you because you are a drow. And while I’m not saying bg3 is exclusively bad at this; omeluum and blurg are great examples of races stereotyped as always evil (illithid and hobgoblin respectively) being unequivocally good people, the reality is that there is a lot of assumptions that are paramount to the dnd lore and canon. And this is why you see so many people violently react negatively to the emperor, they have been taught through the source material of the game bg3 is based on to assume illithids are bad. And if you chose this path you can continue to allow yourself to believe all illithids are evil as you betray the trust of one of the most interesting and layered characters in the game because they are an illithid. Just a waste of a viewpoint for such a cool character :/

[mybg3notebook]

Astarion Analysis Summary

Disclaimer Game Version: All these analyses were made up to the game version v4.1.101.4425. As long as new content is added, and as long as I have free time for that, I will try to keep updating this information.

This will be a summarasing analysis integrating most of the main characteristics shown and proven in the post (Astarion Analysis)

Additional disclaimers about meta-knowledge and interpretations in (post)

The number between brackets [] represents the topic-block related to (this post), which gathers as much evidence as I could get.

Alignments are usually a topic of discussion since characters can be so complicated, that they are hard to put in some place on the spectrum. However, for Astarion’s case, it’s clear that he is an Evil-aligned character, like Shadowheart and Lae’Zel. Whether he lies on a Chaotic side or a Neutral one is a bit less important (personally, I believe this small shift is the most you will be able to change Astarion through the main game, but I will explain that in another post Astarion and Power -Part 2). 

What is most important is to understand that we are analysing an Evil char, so his personality will lay in the negative characteristics. He likes all degrees of cruelty [3,6], violence [2, 13], and murder [2], having a particular taste for animal cruelty [4]. He finds this cruelty funny.

When it comes to animal cruelty, he has a broader concept of what’s animal than most Tavs would consider: he includes kobolds, goblins, and gnomes as such [5]. So all the cruelty upon them would be labelled, for his standards, as “animal” cruelty. This is why I specify he has a particular taste for this type of cruelty: he doesn’t only enjoy the death and torment of animals, but also of races he considers as such [5].

He has many racial biases [5] (hardly any char in Forgotten Realm lacks them): he only sees valuable elves and some humans (not all, since he despises the Gur) probably as a consequence of his backstory. Let’s remember that a group of Gur put him at death's door, forcing him into accepting Cazador's proposition. However, it’s also important to keep in mind he put himself in that situation with his corrupted magistrate role as a mortal (Swen’s interview).

He supports the most common biases about Tieflings and Gurs [5], and mocks halfling and Dwarven Tavs. He sees goblins, kobolds and gnomes as animals. Probably the list is broader, since all this information is what's present in the EA game at the moment.

Astarion as a character has a play of concepts with the duality animal/owner [14]. He speaks about choice as the element that separates animals from humanoids. Animals react out of instinct, thinking creatures choose to act. This speech doesn’t end with him claiming choice but being an animal desiring to kill. If in any other instance he would show a hint of empathy, one would be inclined to think his character is about the overwhelming reactions of a wounded animal installed by the abuse. But I hardly see it like that. He was twisted before turning into a vampire.

As such, he speaks about “survival instinct” [14]. With the little we see and can read in his approvals and disapprovals, he is looking for acceptance from Tav about his vampire nature, for the sake of survival. This character is an extreme survivalist. Astarion would care nothing about endangering or even killing innocent people to guarantee his survival. Once more, we see in the way he speaks about survival, the constant repetition of the symbol of “animal”. 

He is greedy [1], no matter if what he gains is little or not; as long as it gives him a small reward (he hates to help for free), or if it causes pain, torment, or the death of the person he is interacting with, it’s enough. If Astarion doesn’t have a radical change in his background, we can be assured this greed comes from his past mortal life, when he was a corrupt magister to the point to double sell criminals to a local vampire lord and to slavers. 

Manipulation [7]is the main characteristic in him. His words and mannerisms change as the game progresses, playing with the tones and the half-truth/lies he keeps saying. During his first interactions with Tav, Astarion is very careful in sharing his opinion about the events, —his judgements are always vague—while he tries to appraise Tav. This can be easily seen when he has no opinion about Kagha’s snake killing Arabella and playing an obvious mind game to Tav. For further detail check (Astarion and his Standards).

He is sometimes considered a prankster [3], but I prefer to call him Evil Trickster (pretty much like Shadowheart, who has trickster domain as cleric) who enjoys pranks to a higher degree of torment, ending sometimes with the death of the person in question. He enjoys, following this Trickster nature, the humiliation of people in general and outsmarting small people in particular [6]. He is aware that outsmarting powerful ones can bring consequences hard to deal with [7] (as he warns when Tav thinks about outsmarting Raphael), but applying all these torments to weak people is inconsequential, and therefore, enjoyable for him without risks.

We already stated that he enjoys the suffering of people [2,3], but he has a particular taste for the torment of the weakest ones [6]. The root of this pleasure for humiliating weak creatures comes from his desire for power. Astarion is a char deeply related to power [11], not as a goal itself (not power for the sake of power), but as a means to obtain revenge, and in the process, become a Master. I will analyse this aspect in another post  (Astarion and Power part 1/ part 2). 

However, I think it’s worth noting that Astarion’s descriptions of Cazador reflect not only his need for power but also his desire for that kind of power applied in a similar goal. Astarion despises Cazador’s obsession for power, but he has little problem to aspire to it. The obsession with any kind of power, especially the one given by the tadpoles which bend the will of people (mind control) [11], his paranoia, his constant desire to become master [14], his pleasure in cruelty and humiliation [2,3,4,6]… all these characteristics are very descriptive of Astarion too. Cazador and Astarion seem to be each other’s mirrors ( for more details check post  Astarion and Power part 1/ part 2). .

Despite hating to be involved in anyone else's problems [9], he encourages and supports most acts of revenge [8,16], especially the ones against figures that can be interpreted as master. This will occur if and only if Astarion perceives the victim of such a master as a strong and resilient creature worth the trouble, i.e. Karlach [16]. 

He enjoys most Intimidation options you can pick [13], since they can result in the humiliation of a certain NPC, as a demonstration of power, or simply as elements for tormenting NPCs that would lead to murderous situations which are “funny” shows for Astarion. In general, most intimidation tags will be approved by him, except the ones that could be used to defuse violent outcomes.

All these evil pleasures can be considered as “the result” of turning into a vampire, but if we stick to what Swen has explained during the first demonstrations of the game and interviews before the release of EA, we know Astarion has been an Evil character during his mortal life. He was a corrupt magistrate in Baldur’s Gate, who fed the local coven of vampires with criminals. Being greedy, and trying to bite more than he knew he could chew, he sold this food into slavery to earn more money. As a consequence (directly or plotted by Cazador, we don’t know) he was attacked by a group of Gurs who almost beat him to death. Cazador appeared soon afterwards to grant him immortality with the curse of Vampirism. As we can see, he is not better than he was when he was a mortal elf.

A deeper relationship with concepts such as power, abuse, and victim will be explained in another post ( Astarion and Power-part 2). From Astarion’s brief background we can see that he has been an abuser in his mortal life. Due to his own actions, Cazador grasped him into his power and inflicted torment, humiliation, and violence of many kinds, for two centuries, twisting his personality into evilness even more than before (we also need to remember that not only torture may have twisted his personality, vampirism via Dark Desires causes a natural perversion of the persona as well). He now aspires to become more powerful, a reflection of Cazador himself, as a way to acquire his freedom. He wants power to be free [7, 11, 13, 14], and the power of mind-controlling others excites him [10,11] to no end, ignoring completely the cognitive dissonance of his own mind as an ex slave [12]. Although he suffered slavery in his own flesh, he is pretty apathetic (or even supports) slavery [10]. Some players may understand his narration of Cazador’s torments as a means to manipulate Tav, others, as a self-dismissal of his own traumatic experiences. 

His story seems to narrate the story of an abuser who found a greater abuser and became a victim of the latter, seeking to return to a stronger power position (the greatest vampire of the world—description in Larian web page—). Despite suffering this abuse, that could be understood as poetic justice to certain degree, he never developed empathy for those sharing his condition. He cares little when he sees others in the same situations he had been ( for more details check post (Astarion and Power part 1/ part 2). 

Some fans see that Astarion detests slavery, and he is just putting a show of a thick-skinned survivor, pretending that it does not affect him. I can’t see it with all what we see in EA. This “supposed” repulsive emotion should be a matter of narrative (we should see it in clear approvals or disapprovals as meta-knowledge), not a baseless imagination/wish of the player. We know that there are hundreds of resources to show hidden emotions in characters. Remorse or a desire to improve can be perfectly shown without being explicit, even when he may not be conscious of them. We can see how this is managed with Shadowheart, and we know there is something going on under her cruelty despite knowing little about herself (she knows less of her past and still yet we manage to see some degrees of goodness in her despite her evil inclinations). 

So I don’t believe that Astarion has some remorse going on, because if it were the case, it has not been shown in any scene so far. To me, it makes much more sense for him to develop as a full evil character inside the spectrum of evilness. After all, and following the tradition of the mechanics seen in BG1 and BG2, a redemption arc of an evil char of this magnitude makes little sense (We can remember Edwin,Dorn Il-Khan, Sarevok Anchev, Viconia DeVir, Baeloth Barrityl, Xzar, or Hexxat, all evil chars whose development was always inside their evilness or showed, in few cases, a slight shift of it). But further details and reflections will be addressed in another post (Astarion and Power part 1/ part 2). 

As a last detail, we can or cannot believe his statement of having lost his memories (he can perfectly claim it to hide his evil past from the main character to have a better manipulation of Tav) but considering Larian has kept most of the DnD vampire characteristics, I would like to bring awareness of a particular vampiric effect named Dark Desires (here). It’s the twistessness of the mortal-desires, which due to the fact that Astarion’s had always been dark, changed little with his vampiric nature, or just deepened in its perversion, and may cause sometimes the loss of memories (he was greedy and cruel before, now he stays the same, but darker and morbider.)

In short we can summarise Astarion as a moral bankrupt narcissist, a survivalist no matter the cost, a power-hungry character who wants to bend people’s will. He uses manipulation as his main tool, and enjoys violence, murder, and humiliation. Despite his slave past, he enoys acts of cruelty and torture on innocent or weak creatures. All his actions and words seem to ominously display a similarity with Cazador, as if his fate is to become the next Cazador.

This post was written on April 2021. → For more Astarion: Analysis Series Index

[lairofsentinel]

Sorry for bugging you, but I just started DOS2 and I know you like that game. Idk anything about this series so this is probably really dumb, but do you know how long ago Lucian used the death fog on the elves? I’m playing a custom elf and trying to figure out when this would’ve happened in his life. 1 year? 5 years? 10? Before he was born?? Lol. Also, do you have any cool tips or things to share that you really love about the game? Thanks and have a good day :-)

Hello there.

Right now I’m at mywork, so I can’t make a deep research on it. But I’ll keep it in mind.

About the deathfog:You know? That’s a really good question. Considering Ifan is aliveand he was there when that happened, it must have been around 20 ormaybe 15 years ago.  (I think Ifan is more or less 45 y/o) and whenthat happened, he was a commander, a pretty high rank inside theOrder.  But I will research on that shortly.

About Timelines. Well, I’m absolutely lost here.The horrible mess that Larian is with their Lore makes everything horrible.If you checked or played some other games of Divinity, things justmake everything more confusing.

There is a nice“timeline” to have some things a bit ordered, but it is neverenough to be sure with their lore. We need to accept the messy LarianLore as we accept death, I think, lol.http://divinity.wikia.com/wiki/Timeline

Check this too,showing how confused everyone is, specially related with Lucian’stimelinexDhttps://www.reddit.com/r/DivinityOriginalSin/comments/7ekklh/timeline_of_divinity_games/

Lore focused peopleare disappointed to be trolled by Larian. Advise: let the lore be. Don’t ask much, You will find only regrets xD

You are playing anelf. If you talked to Saheila, you know that time is not a thing forthem. Their immortality makes them perceive time like an inconsistent thing. Itreally doesn’t matter for an elf. He can be as old as you want to. (if you want to use this as a lastresource in such mess of time and dates and incoherent lore)

About tips:

Activate Pet Palimmediately, and talk to animals. Every animal you see, talk to them.They are precious, and hilarious, and many times they  give yousidequests that can be lore-related or simply silly ones that willmake you laugh.You will laugh. And love the dogs.

Interact witheverything. Even with paintings. There are “talking”paintingssometimes. Use ALT key to highlight interact-able objects.

Explore the maps a lot. It’snever a waste of time, because exploring in this game is morerewarding than in many others RPG. You can find amazing small storiesin the weirdest corners of the map, more insightful perspectives about some chars, beautiful landscapes that may have some chest worth opening, or simply trigger wonderful quests. Like… really. Wonderful. Itotally loved this. And explore caves too. 

Always have Lockpick tools, a shovel, and those disarming kits. If you have Fane in your group, you can forget lockpick tools. Bony fingers work like that XD.

Let me be biased as fuck. One of the bestthings is Ifan. Honestly.  I love him. And Malady. I’m dying to seethe next game with her.

What I hate though is the isometric aesthetic and theturned-based combat. Honestly. I never was a fan of it, but I did myexception with Torment: Tides of Numenera, and with DOS1and DOS2, and I didn’t regret it. DOS2 is wonderful. It’s prettydynamical for a turned-based game, and they managed the isometric with 360º so fucking well that I dont care anymore. It’s beautiful to see. But yeah, I’m not planning to playit in any other difficult than story, because my no-regret has alimit, too xD