My Boys...

The vampires bride

Would Astarion renew the bite? Discuss. ♥

Fans of Ascended Astarion have consistently faced accusations of romanticizing abuse since the fandom’s inception. After Patch 7, these accusations have only intensified, now directed not only at players but also at the developers themselves, Larian Studios.

And I have something to say about this.

Astarion has become a sort of mirror for players, reflecting their own experiences, personal preferences, and so on. The romanticization of this character is common among almost all of his fans, regardless of which route they have chosen as their favorite. Attachment to this character inevitably involves a degree of idealization and bias in the perception of his actions. Even when Astarion engages in questionable or cruel behavior, fans often tend to find justifications for him.

From the very first moments of the game, Astarion reveals himself as a personality prone to deviant behavior: he manipulates those around him, shows a tendency towards violence, and exhibits a disregard for morality. Yet, despite this, players often interpret his actions from a standpoint of sympathy, seeing them as a result not so much of his character, but rather of his tragic past. As a victim of violence and cruel torment at the hands of Cazador, Astarion evokes a desire to justify his actions, labeling him as a victim of circumstance.

Thus, Astarion's past serves as a powerful justification for many players regarding his dark deeds: instead of viewing him as a cruel manipulator, they see a wounded soul struggling to survive in a world that has always been unfair to him. This desire to find justification and "save" the character "from himself" is intensified by the romantic context of his interactions with the player. Such a perspective often results in the dangerous traits of Astarion losing their edge, creating a more palatable image that fits into the romantic fantasy of redemption.

This undoubtedly contradicts the author's intent, who, when asked what traits are most important for Astarion to "be him," emphasized that Astarion remains a horrible character throughout the game and in many respects. According to the writer, he is prone to violence, revels in blood, and embodies the darker sides of human nature. Astarion is someone who can kill with a smile on his face. Nevertheless, his character is also designed for the player to feel sympathy for him: despite his wicked nature, he must remain appealing and cheerful so that the player wants to have him in their party. The writer likely did not believe that the status of a victim and survivor should serve as an indulgence for the character.

But only fans of Ascended Astarion face accusations of romanticizing him, and I just want to draw your attention to the double standards behind such accusations.

The idea of "fixing" Astarion is a form of romanticization, and this trope, in essence, is indeed a romanticization.

The trope "I can fix him" is one of the popular plot devices in literature, film, and games, especially in romantic storylines where one partner encounters a dark character. In the realm of gaming and artistic fiction, such a trope is not only acceptable but also appealing, as it allows players to experience an emotionally rich yet safe fantasy.

However, in real life, the trope "I can fix him" can be dangerous, as it creates the illusion that love can change a person and resolve psychological or behavioral issues that actually require professional help.

This trope can distort the perception of relationships, creating the illusion that toxic behavior, violence, or manipulation from a partner can be changed by the power of love, attachment, or willingness to sacrifice oneself.

"You were by my side through all of this. Through bloodlust and pain and misery. You were patient. You cared. You trusted me when that was an objectively stupid thing to do."

Here, one might ask: why is the romanticization of the spawn route considered more acceptable? Analyzing both routes, they both imply the romanticization of a potentially dangerous person to some extent. It’s possible that fans of Ascended Astarion attract more attention due to the obvious symbolism of power and its imbalance, but that doesn’t mean the spawn route is less romanticized in its essence. Both endings represent different facets of the same character, and attachment to one version is not necessarily more "justified" than to the other. Some romanticize him as vulnerable and seeking redemption, while others see his dark potential and ambition for power. In both cases, the perception of the character remains subjective, and it is unfair to assert that one form of romanticization is more acceptable than the other. In my opinion, again subjective, ignoring his dark sides in favor of the idea of "redemption" can create a distorted image of the character, where his darker tendencies are downplayed and undervalued for the sake of his potential "salvation."

But it's always only the fans of Ascended Astarion who often face concerns about their mental health and claims that such fantasies supposedly push women to choose abusive partners in real life. But by that logic, the spawn route ending is also a dangerous fantasy when applied to reality.

Thus, by following the "good" path, we willingly bind ourselves to a potentially dangerous partner who can kill us several times throughout the game, yet we continue to believe that we can fix or heal him with love, friendship, and support, and that he will ultimately reveal a different, better side of himself. This is literally the mentality of abuse victims: they see the deeply hidden "kindness" behind the aggressive facade and believe they can awaken it and change the person for the better. It is this faith in the "healing" of the abuser that prevents them from leaving.

But it is obvious that there is a profound divide between the world of fantasy and reality, and what works within the framework of a fictional story should not be applied to everyday life. Fantasies in games, books, or movies allow us to safely experience complex and idealized situations, immersing ourselves in roles and scenarios that can be destructive or dangerous in real life. For no fan of Ascended Astarion does this story serve as a basis for real beliefs or behavioral models in real life.

But I have seen some fans of the spawn route sincerely claim that Astarion evokes a sense of safety for them due to his status as a victim of sexual violence, which resonates with many women's experiences and personal experiences of abuse. This statement raises questions, especially when it comes to a character who can kill you when you try to help him. And if you do not want to help him, he may manipulate you into doing so.

The entire romance with Astarion is a romanticization of a walking red flag.

A romance with Astarion offers several ways to experience fantasy, and it would be hypocritical to judge it from a real-world perspective solely in the evil route. Like the "I can fix him" trope, the storyline with Ascended Astarion allows the player to explore certain psychological and emotional aspects.

Ultimately, characters like Astarion are designed to be ambiguous. All fans of Astarion, in one way or another, are involved in the process of romanticization, as they choose the path that resonates most closely with their personal preferences.

Fantasies about salvation through love are a normal occurrence in artistic works and fantasy settings, but is it fair to demand that fans of Ascended Astarion "take off their rose-colored glasses"? I am convinced that fans of Ascended Astarion have a much more sober view of the character, at least recognizing the dark side of Astarion and accepting it as a fundamental part of his character rather than as a mere byproduct of trauma.

The argument that "the romanticization of abuse in games encourages people to choose abusive relationships in real life" sounds as absurd as the claim that "shooters provoke people to commit real murders." Following this logic, one could accuse any stories that address complex or dark themes of allegedly romanticizing or promoting dangerous or socially unacceptable phenomena. For example, an intimate scene with Halsin in bear form could be perceived as romanticizing zoophilia since it is portrayed in a positive light if one ignores the entire context and forgets that it is fiction. However, it is clear that this scene is created for humor.

I truly believe that many of those who accuse fans of Ascended Astarion of romanticization hardly realize how deeply they themselves are immersed in it. There is nothing fair in these accusations, especially considering the source from which they come.

Lord. King. Master.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kneel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chapters:

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

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

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

So impressed by a tremendous work that Kate Kotova did putting this massive analysis together. Brava!

The community is forever in your debt, Kate!

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