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redstaratmorning · 4 years

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Headcanons and Musings of Pirate-y And Plunderous Proportions: Astarion Says What

Synopsis: Random musings and ramblings regarding and spawning from the differences between how Astarion says just one word, depending on your choices—“What?” This got very long and touches not only on Astarion’s difference in presentation in aforementioned moment, but also some discussion-thoughts to chuck onto the dashboard regarding some other elements of Astarion’s content thus far in Early Access, and some thoughts to add onto others’ speculations and wonderings (I did not save sources so pardon the lack of proper citation, oops. We’re going informal here anyway.) Spoilers for Chapter 1 BG3 scenes, plot, etc, under the cut in case someone hasn’t filtered out the tags. Trigger warning/content warning: some discussion of heavy topics is mentioned and explored, including starvation, abuse/torture, and trauma. Other topics of note for summarization include speculation on Astarion’s largely unknown as-of-early-access background and a touch of his possible pre-vampire morality leanings, possible mental state/trauma reaction in a couple of scenes, and vague speculation on Larian’s gameplan for Astarion’s arc ending. Gather thy party and venture forward, for here be dragons and lots o’ text, matey! [/stereotypical pirate accent]

“What?” Just that one word, between the goblin party and the tiefling party. If Larian keeps the body language and tone presentation more or less where it’s at now in Early Access, they are worlds apart and delightfully up for interpretation of just what’s going on in our favorite vampire spawn’s head. This won’t be an in-depth post about all the tonal and body language differences, just picking out a few due to personal constraints (ie too broke to buy this game currently.) Edit: And also a lot of other thoughts and ramblings tacked on, lol. On the one hand we have him at the goblin party, where he seems much more superficially comfortable there, knows what’s going on and knows what to expect—it feels like he’s done this kind of scene a hundred times before. The comfort of familiarity. Did Cazador throw “parties”, much like how he “invited” Astarion to dine with him? I wouldn’t be surprised if he mingled at regular dinner parties either before his turning, or perhaps after when he’s ordered to hunt for Cazador’s evening repast. I doubt the goblin party has anything as potentially horrific as what Cazador would have lined up on the nightly basis, which is why Astarion isn’t aggro’d: he’s in a position of power at this party after all, not a powerless one. A conquering hero, as he describes the MC. A Precarious position, as it turns out.

Circling back to that one word though, the way he says “what” in that scene after he propositions the MC and the MC picks the “Maybe. If you say please” line feels like Astarion’s response could be interpreted as pretty abrupt. On guard, perhaps, squaring up, offended, even perhaps lowkey challenging/hostile. Expressing social displeasure and possibly staring down the MC mayhaps? Could be, especially if Astarion’s body language remains as it is rigged now in-scene with that step forward, his shoulders shifting, the lack of a smile, that assessing glare, all combined with that flat tone of voice. The animation could just be temporary and subject to change, but if it does end up as more or less the final version of that moment’s depiction, it’s pretty interesting as a shift. I’d read it as potentially “not actually truly comfortable in this situation, just familiar and numb to it all”, especially when combined with some of his other earlier potential lines at the goblin party, such as the following: Astarion: So, what are we drinking to? Other than a pile of corpses. MC: That’s not funny. Astarion: Oh don’t be so sour - It’s a party. You did what you had to. Don’t be ashamed that you did it well. MC: I wish things had turned out differently. Astarion: And I wish I was drinking out of the skulls of everyone who’s ever wronged me. Life is tough. Although that’s not to say we can’t have a little fun. This supports the whole “has been through his personal hell and has adapted to survive it albeit not unscathed” story Larian seems to be going for with him quite nicely in the little tells and details. A sort of “take what joy you can even amidst the dark situation surrounding us” trauma-induced adaptation, coupled together with actual enjoyment on his part for killing. It’d be easy to say Astarion is moreso in his element at the goblin party, and to a degree he is—it’s one he is well practiced with in his current mindset. Compare now how he acts at the tiefling party—we can all agree he’s not having a good time, our friendly neighborhood vampire sulking in particular over the fact that “there’s a worm in [his] brain, [he’s] surrounded by idiots, and all [he] has to drink is wine that tastes like vinegar.” But the delightful thing is he’s complaining so vividly about it. The wine likely is worse at the tiefling party, seeing as they’re refugees, and the goblins had previously captured a duke whom they likely stole loot from and under orders from Minthara et al stored said goods elsewhere for a later date (likely some of said goods were consumed at the party if it happened. Edit: Shadowheart’s drunk dialogue at the goblin party mentions the goblin’s wine there being good, poor dear. Fascinating hints at her story and character in that scene though.) This is assuming Astarion is drinking wine at the goblin party, of course. He may very well be drinking something red and full-bodied there, just not made from grapes. But even in his complaints and presentation, he seems arguably more relaxed and less on guard compared to his demeanor at the goblin party. Let’s be honest, he doesn’t view goblins as equals or stimulating company judging by his various voice lines expressing his disdain, distrust and overall low opinion of them as vermin among other things. The fact that he’s willing to call the tiefling refugees idiots while in earshot of them? Definitely doesn’t respect them as a group—though he has a less negatively opined line regarding them earlier on if the caged goblin (Sazza) is killed,—which is not surprising given that MC and company at the time of the party just saved them from certain death. Astarion’s reaction however also reads as potentially at ease enough to say what he’s thinking. He’s not going to get murdered for saying so, and there aren’t any punishing power games at play with the refugees and do-gooders he’s found himself surrounded by. There aren’t any hedonistic shenanigans going on and the drinks are terrible, so it’s not an entertaining party for him, but one could make an argument that Astarion might actually be feeling more secure or at least less threatened-as-is/was-his-accepted-ongoing-norm there. Which might mean he’s feeling quite out of place, or even just not...entirely engaged with what’s going on around him and even within him as far as emotional states go. Would he casually pull the same stunt at the goblin party? If you’re a bastard to him, yes, but that’s not in the same emotional vein as his dialogue during the tiefling party at all. Loyalty from the goblins is fickle, the goblins worship the Absolute and those that are chosen by the Absolute—so long as said Chosen remain powerful enough to subjugate them and is in favor. Astarion knows this kind of power structure well: ruling by fear and power. With the tieflings? It’s not superiors-and-subordinates, it’s just...people. People celebrating surviving an event that could’ve very well and most likely would’ve ended in their deaths. Will he get to celebrate like that one day? That could very well be a painful and bleak thing to consider, and not something he wants to contemplate as of yet, based on his dialogue lines that demonstrate his fear of Cazador. How’s he supposed to get lost in the fun and revelry if the wine doesn’t even taste good to him? I don’t know wines, but I’m guessing from what little I do know and what I’ve read of flavor descriptors for wines hyped as good, it might actually be bad wine based on the adjective “sharp” when mixed with the rest of the description if the MC takes a sip. Sharp seems to suggest too many tannins, or maybe improper storage so the wine actually did turn to taste a bit more like vinegar, or maybe not enough sugar in the grapes used, perhaps? To be fair, I do believe there’s a non-conversation line somewhere of Astarion’s regarding solid food tasting terrible to him, but I can’t verify that so a pinch of salt there. Still, if his taste buds are aligned with regular living mortal ones for wine at least, RIP Astarion, he’s stuck with a terrible drink for the foreseeable night. Unless, of course, you know. ;D Compared to the tieflings, the goblins as a whole? As a group they’re a scraped together army of pillagers hungry for destruction and spoils. They don’t have ANY loyalty to you—in addition to being willing to betray you via murder immediately despite working with them when Sazza first brings you back to meet Minthara, there’s also when Minthara potentially opts to try to kill you post-goblin-party. If you persuade her not to, Minthara does mention “do not return to the goblin camp, as far as they were concerned you were destined to die tonight.” This is not a group to get chummy with, obviously. Doesn’t say good things about the Absolute’s followers in general, either, or the Absolute depending on if Minthara’s being honest about the Absolute intending that the MC dies after razing the grove. Minthara could just be lying to serve her own ends and is out to destroy any rivals for the Absolute’s favor, after all, I can’t verify that from dialogue exploration at present. So it’s not surprising that this is not a group Astarion is going to let his guard down around I’m sure, or around an MC that sided with the goblins, because fortunes can shift like the wind in a scene like that, and I think his utter lack of surprise at Minthara trying to kill you all (whether or not the MC had a romp with her) is potentially spawned because he recognizes this fact. He’s been here before, in another time, another place, with different faces, but he’s seen this play before. And the MC is just another face for the same old role of a player in this rat race for power when they side with the goblins, aren’t they? The difference this time though is: will they succeed and make it to the top? Is Astarion betting on the winning horse, or not? Far less reason and far more motivation to not be emotionally invested in anyone or anything around him because it’s survival of the fittest, and the most ruthless will be the ones who win—the MC just reinforced that perspective for Astarion, in slaughtering the tieflings. But Astarion isn’t fully corrupted yet, despite however much Cazador has twisted and tormented him so. Isn’t it fascinating, that the MC, one of the first people Astarion can actually interact with relatively freely without Cazador’s puppeteering influence hanging over him quite so acutely, is someone who might very well and very likely will have a huge impact on how Astarion develops and sees the world? For better or for worse, the MC will shape all the companions’ futures and perspectives it seems, depending on their choices. On a meta note, isn’t that thrillingly fascinating and engaging work by Larian Studios? Bravo, honestly. Continuing, for Astarion this could very well just feel like a better but complimentary and thematically continuous segment of the nightmare that is his existence under Cazador as it goes on: he’s a vampire now, and the world is only ever a power struggle between the strong and the weak, and he knows better than to ever be weak again. Kindness and virtue belonged to Before. Before he died, before he turned, before he was taken. Those are things in stories and fairy tales now, that belong to other people, other places and times, other lives—things that belong to the living, not the undead. Sentimentality, more universally-accepted morality, all of those Good™-aligned or softer feelings can feel like they have no place in his world now, on this darker path. But he knows what they are, not just in theory I think, but also perhaps knowing from memory and experience, however distant and faint. The way he speaks on many occasions has subtext that could very well suggest he wasn’t without a better side through implication and emotion. Which is not to say I think he was a shining paragon of virtue before he died—guessing based off of the dev team’s writing of him so far, I’m expecting nuanced and complex but ultimately very human (or elf if you’re being fantasy-based technical) morality with both merits and flaws, for polarizing opinions in the fandom. That being said, I’m holding off judgment on what kind of person he was before he was turned for now despite reading about pre-early-access, preliminary ideas the dev team had for his background. The reason I’m waiting to see what the dev team puts into the game for his backstory of Before, is because some of his datamined lines could be taken in a couple of different ways, and some of his emotional responses as is currently don’t track as truly Machiavellian or I’d say malevolent in nature for manipulation or otherwise. Granted, not all Evil™ acts stem from intentions to be malevolent. Sometimes people do evil both in-game and in life without really intending to, or recognizing that they do, nor seeing the harm they have caused or will cause (I’m looking at you, Mayrina.) Manipulative yes, but so far it’s looked like it’s for defensive purposes in a world that is out to hurt or kill him if given any opportunity whatsoever. Personally I actually wouldn’t even say he’s been really manipulative at all, but your mileage may vary. He lies because he’s afraid you’re going to murder him for being a vampire, and because he doesn’t want to reveal the cause of two centuries’ worth of trauma to someone he just met and likely can’t predict if they’re emotionally safe for him to interact with. Note: “emotionally safe” does not necessarily denote being sympathetic here, so much as “will their response cause me pain in some fashion?” from Astarion’s point of view, which does not necessarily require the MC to be mean to him though obviously that wouldn’t help. We touch upon why sympathy can hurt later on in this essay. And why would he expect sympathy in the other instance, regarding revealing that he’s a vampire? How often would we not murder strange vampires we just met in DND-worlds? Is that not a common response and practice in Faerun for the most part? They’re on the list of acceptable prey for a monster hunter to be kidnapped and taken to who knows what fate (probably nothing good we’re sure), and who would come rescue them? In all actuality: No one. If he wasn’t a companion he’d easily just be one more random encounter to kill—as he and all the companions are in the right circumstances, *cough cough* like when sacrificing anyone to Boooal *cough.* Astarion’s had little cracked moments where he seems to be showing genuine vulnerability, and I’d say he likely displays real genuine emotion plenty of times, just not all the time. While the vulnerable moments could be a ploy, were he the type to actually be fully acting, I’m disinclined to bet that he’d act in the way he does during those moments if he planned them out or even improvised. It could be a mix of both, where it’s both true but also an act of manipulation. Were it the last option, that would require more exploration of his character in various situations to determine imo. I still doubt that though. I think he’s a little too raw and real in his pain, anger, and aggression to say he’s being malevolently manipulative at the end of the day, at least thus far in chapter one. The MC’s choices may change and influence that, on the Evil™ route. I’ve been following some of the fantastic dash discussions on Astarion’s reaction to when the MC tries to comfort him (because of course I have, I’m here for BG3 content and Astarion content especially, aren’t we all here for the same party in his tag? Also hello fellow Astarion stans! :D I hope everyone’s having a good day), and if some of these datamined lines from Pjenn’s blog post are actually implemented and kept as canonical [link], specifically the ones Astarion says regarding heroes, I do think it ties in very strongly with some of what other folks have said regarding his recoiling reaction. Copy-pasted the potential dialogue lines of interest below: Astarion: Heroes. |said with disgust| Astarion: Heroes had two centuries to save me from my torture, but not one came knocking. Astarion: The strong had two centuries to pluck me from torture, but no one came. No, it was the mind flayers that rescued me. Astarion: I spent centuries as the victim of a corrupt man. It was the mind flayers that plucked me away from that. I very much enjoyed all the takes on Astarion’s potential motivations in his response, and I do want to chuck another idea into the fray that supports the vein of ideas that have him being truly afraid and then angry at the MC in that scene, with the speculation including those possible hero lines above as influence. Specifically, I’d like to bring in an outside comparison to part of Molly Grue’s reaction to seeing the Unicorn from The Last Unicorn animated movie for the first time, transcribed below: The Unicorn: I’m here now. Molly: [Bitter laugh] Oh? And where were you twenty years ago? Ten years ago? Where were you when I was new? When I was one of those innocent, young maidens you always come to? How dare you. How DARE you come to me now, when I am this. [begins to cry, heartbroken] Consider Astarion being shown kindness when he is now away from Cazador, not fully free or safe yet but not currently actively fully suffering Cazador’s torment all up close and personal. Consider that only on that very night before he was snatched up by the mindflayers, which might’ve been anywhere from only a day to a handful of days before this conversation about his nightmare, he was going out to falsely smile and lure some innocent—(“No innocents. You have my word.”)—or perhaps not so innocent, beautiful soul back to Cazador’s mansion to very likely die or be turned. How often must he do so? Is it every night he is ordered to go out and condemn someone else to that unfortunate fate? Do you think Cazador killed them cleanly? Quickly? Why would he, instead of agonizingly grinding out any last traces of sympathy his spawn might have through the guilt that they are the ones who “choose” who suffers and likely dies at Cazador’s hands that night? To give the illusion of choice is one abuse/torture tactic that can be used to break a soul that we see often in games: choose who suffers or dies. Cazador is unquestionably a personality who enjoys the psychological aspect of tormenting his victims, as evidenced by giving Astarion the “choice” to be either flayed or to “dine” on a rotting, dead rat, as well as other mentions of how he puts thought into torturing those around him. Astarion is still so fresh from his torment,—torment that is still technically on-going with the very real threats of resuming once more—he is emotionally bleeding enough arterial blood at the seams to fill a sea. His actions, words, and emotions so often metaphorically smell of blood, and not because he’s a vampire and the traditional role of a vampire being a predator among humanoids ironically enough, but because being a vampire spawn means Cazador. And Cazador means horror. Astarion has survived, yes, and it’s been hell. He’s still in hell, because he isn’t free yet. Not truly. It’s a desperate gasp of air, this taste of freedom, to dream that he could be free of Cazador. Imagine his feelings when he’s now in something like freedom, a reminder of what could be, what his life might’ve and likely was like once upon a time, an uncertain here-and-now where he has the possibility—just a possibility, and an unlikely one at that for most ordinary or less-than-ordinary people, not a certainty—of being free, and he’s just admitted to the horror that is Cazador. Admitted in this moment how much Cazador frightens him, how much just the thought of Cazador frightens him, how much the possibility he might be sent back to his master and having his previous tormented existence resumed truly frightens him. And the MC reaches out in sympathy. In acknowledgement that what Astarion has been through is horrifying. To look at this horror and say it is pain, and terror, and awful, that it isn’t normal. It isn’t something to ignore. It isn’t something to pretend is just everyday same old, same old, to numb and take off the edge as much as one can. That Astarion’s pain and fear aren’t to be sought out for entertainment or at best to be willfully neglected in an act of malice. That stark moment of contrast, like night and day, could bring the pain of two hundred years crashing down inside his head, all compressed into one moment. Feelings he tried so hard to survive through, ignore perhaps, suppress: fear, helplessness, loneliness, misery, anger, sorrow, hatred, pain, anxiety, distress, need. Memories, of so many instances that hurt in that moment and then continued to hurt for so long afterwards. How much must it hurt him, wound him, to lift his head for air and have a perspective outside of his suffering that is sympathetic...but knowing that nobody came to save him. That perhaps, no one ever will, if he loses this so-called freedom and is dragged back under. That those that care, cannot help you. And that those that can help, do not care. Why would anyone help him at this point after all? He’s a vampire spawn. A classically defined monster in the eyes of society, and he knows it. (”I’m not some monster!” / ”At best, I was sure you’d say no. More likely you’d ram a stake through my ribs.”) He must have been truly desperate in his starvation to chance anyone finding out he’s a vampire in the party. Not surprising, he can’t rest at the end of the day like the other companions can. He has to expend extra energy at that point to find food discreetly after fighting all day, and subpar food at that. (”Animal blood tastes like muck.” verification needed, it’s a conversational line in some branch of the morning-after he asks to bite the MC the first time) He’s not eating breakfast, snacks or lunch during the day, and he isn’t guaranteed to find food while hunting in the woods. Game might be scarce, he can be wounded or exhausted after a long day of fighting, and he wasn’t starting out in the peak of health to begin with either. He is a vampire spawn yes and apparently can take down large game such as boars to drain them, but that is a rough existence to condemn anyone to mechanically speaking. He knows what he’s risking, regardless of his int stat. But he takes that risk anyway. The character who is so survival driven, risking a very high likelihood of expulsion at best or death as the much-more-likely worst outcome of this attempt? His bite isn’t painless, and pain can wake a person up readily enough if they aren’t a deep sleeper, and how deep a sleeper are most people when in an uncertain and unfamiliar wilderness, potentially while hungry and cold, with the fretting fear of a agonizing death looming over their head? Even accounting for a lack of mental clarity from hunger and exhaustion and other factors, I find it deeply unlikely that Astarion is unaware of how big a risk he’s taking with the odds are stacked against him, rogue class or not. And even if he’s just thrown out of the group? He’s alone. Vulnerable. A target to be hunted by a much bigger, meaner predator. One that won’t kill him quickly, we can guess. His odds are much lower, on his own. Specifically his odds of not being dragged back to Cazador...assuming the MC doesn’t just turn him over to Gandrel. How terrifying is it to imagine that your suffering will never end, to be told it will never end, and then you are reminded of what it is like to not suffer for a time. To have felt the painful hope that maybe there is a possibility that you could escape an existence of torment...but knowing you very well might not? It is desperately bleak. It is no great leap of the imagination to hear Astarion saying—(or more likely thinking because this would be terribly vulnerable...but he might say something when pushed because he’s so full of sharp edges and bleeding insides still)—something similar to Molly Grue’s line in his own fashion, is it? Astarion: “[Bitterly laughing, mockingly so. As he speaks his tone breaks, an edge of raw, desperate hysteria slipping through, attached to centuries of pain turned to anger] And where were you two hundred years ago? A hundred years ago? Where were you when I still desperately thought in the deepest parts of my heart that someone might come? When I still had hope? Astarion: [his voice turns low and venomous, raising in volume and accusation before finishing with a break on the final word “this”, a tonal admittance of how distraught and self-aware he is of what he’s had to do, of what he’s had to become to survive] How dare you. How DARE you say this to me now, when I am this.” (the above lines are entirely fictional and are not from any in-game, data-mined, or otherwise official source or content) He’s been made to do so many terrible things, even just based off of the few lines we have heard in early access he’s been through so much horror. An hour of torture, a day, a month is so incredibly long. It can have such lasting impact on a person—PTSD, as we know it in this day and age. A year? Five years, ten, twenty, fifty, a hundred? An elf he may be, but from a human perspective...he’s been tortured for lifetimes. Even as an elf, two hundred years is a long time. More than long enough to seriously alter how someone’s brain works—people are both amazingly resilient, but also so incredibly fragile. Cazador has had all this time to play with Astarion’s brain, honestly I find it impressive Astarion has any sense of self left after all this time. That he’s still driven to survive, that he still feels anything at all. (”It doesn’t look broken. But then again, none of us do.”) It doesn’t surprise me that he’s intensely bitter when encountering the “paladins” of Tyr—(ie Anders and company if you know who I mean—and was that a Dragon Age 2 reference? If not that is an amazing coincidence with the whole Anders-Justice-Vengeance-Demon thing there)—if the MC asks something to the tune of “Don’t you wish someone had helped you when you needed it?” Oh. Oh that had to be a painful question for him. Astarion had his basic needs denied and abused, to ask if he wished that someone had helped him when he needed that and more, and no one came? Why was he denied but the paladins get help? Why does he have to be the hero when no one came for him, when no one very well might come for him when he might still very well be in dire straits in the near future? I can see the possible desire to inspire sympathy intended in the question from the MC, but it can be so utterly without sympathy to ask that in some contexts, and in Astarion’s case it is. He was being abused and controlled without any way out—Anders and his cohorts opted into the deal with Zariel for personal reasons, not as far as I know under threat of imminent death, and they are relatively capable of fulfilling their end of the bargain barring their current injuries at the time. They certainly have more freedom of choice than Astarion and other vampire spawn ever did, and they were not being tortured right then and there. Warlocks, referring to Anders and co., might even have the option to get out of deals, a la Wyll’s personal questline hook thus far. Astarion can’t get out of his servitude from Cazador. Cazador holds all the cards, makes all the decisions, has all of the power. To compare Astarion’s situation to his face with that of the “paladins”? I’m surprised he wasn’t spitting fury, honestly. They still have normal elements to their day to day life, despite their devil’s deal. They are not being tormented on the daily—yet. They are not in hell—yet. They can get out. They have the possibility. A possibility Astarion didn’t—until now. And isn’t that the most fucked up thing, that it wasn’t a force of Good™ that saved him, but an even bigger monster than Cazador himself? He was saved—by mindflayers, intending some fate that was likely worse for him than before. Even when the Absolute’s hand begins to be revealed in all this, he is still a pawn among monstrous masters. What heroes there are in the world, won’t come for him. They never did before, and they didn’t now. Heroes are for other people, for realities aside from his own. They are for other people, living Other lives. Not his life. Forces of Good™ swooping in to save the day, to correct the wrongs of the world and to make things Right™ just isn’t his normal. Not anymore, if ever it was. His normal was warped by Cazador a long time ago. Is it a stretch of the imagination that if Cazador twisted “dinner” to be a choice between consuming a rotting, putrid rat corpse or being flayed on a nightly basis, turning “poetry” into the memory of a “sonnet” carved into Astarion’s back with a razor over the course of an entire night full of Astarion’s own pained screams? Is it hard to imagine that Cazador also took pleasure in turning other ordinary situations one might encounter in normal life into nightmare versions as well for Astarion and his other spawn? One illithid mind-power option shows Cazador controlling Astarion by holding his chin, though without any further context. Cazador wouldn’t have had to do more than that to invoke terror, after a certain point in time. It seems highly unlikely the gesture wasn’t followed up with more pain, though. Perhaps in that moment when he speaks of his nightmare in the first conversation and the MC reaches out to him in sympathy...Astarion was reminded of something. Multiple somethings, multiple moments, when Cazador reached out to him oh so casually, and it ended in pain and terror. The way the camera is framed as of the current time in early access, the way he flinches away crying “No!” so quiet and low, his eyes wide and staring just so, how he goes so far as to pull back almost entirely out of frame and the camera slowly pans to follow him? Perhaps that is just a stand-in scene, but as it is, even now, it emphasizes that he is I would argue genuinely afraid, and reflexively responding in what is likely his first opportunity to freely respond to his traumatically induced fear. The first opportunity where he wasn’t supernaturally compelled to do exactly as Cazador ordered him to, the first opportunity where he was likely not going to be tormented further for expressing his fear, for having his main tormentor laugh and delight in his distress. The first instance where he for a split second let his guard down, and didn’t expect to be hurt—until the MC reached for him, echoing possible memories of what happened last time someone (Cazador) did that. It’s not Cazador reaching for him. But...it is not Cazador. He doesn’t have to worry about Cazador hurting him right that second, but...will the MC hurt him, like Cazador did? Will they make it look like they’re going to help him, that he can trust them, and then betray him? (”How can you be so cruel?” / “It [Raphael playing games] reminds me of Cazador, taunting his slaves with hope when he knew the game was rigged.”) But they scared him. They scared him, and perhaps for a moment he was back there, in another time and place, where he knows, where he remembers, vividly, perhaps even recently, what normally would have happened to him. And how dare they make him feel that. (“I can do without reliving that particular night, thank you.” [Nightmare about Cazador dialogue, a separate scene if you miss the insight check from the first post-nightmare camp discussion I believe.]) He’s so raw and upset, both aggressive and defensive when he speaks about his nightmares in quite a few of his lines, asking and waiting to explain just why his nightmares are truly so terrifying, especially in the second-nightmare conversation. The way he speaks there, and in other scenes, makes me very disinclined to interpret him as actively intending evil in general so much as having been shaped to be ruthless through a centuries-long trial by fire that he isn’t free and clear of yet. Based off of how he reacts on more than one occasion, I’m personally inclined to take a leaf from Wyll’s book and say I do think he has more than just potential to be good. “Good™” being relative of course to his situation and undead-life—Astarion has GREAT potential as a character to explore not only what it means to be Evil™ aligned, but also what people on the meta perceive as evil, as well as what prejudices we may carry from that labeling. He is I think very much an excellent walking morality test and ironically a mirror for the player’s character. What kind of person is the MC, in how they treat and interact with him. He is a complicated and morally-entangled character, and it is so very easy to only read him in the here and now within the stark, daylight context of societal’s average norms without looking at the very real, very recent nightmarish Twilight Zone reality he’s lived in that echoes through his words and story thus far. It’s a marvelous bit of echoing reality and real life here by Larian, truth be told: how do you tell people about your life, when it’s been a ceaseless, unending nightmare? With smiles, witticisms, and the occasional polished lie that bleeds out pain, for some folks anyway, including Astarion. He says he’s having more fun at the goblin party, but at the tiefling party? That’s probably the first time he’s been at a normal party where he hasn’t had to obey and fear Cazador’s orders and inevitable torment during or afterwards. That’s the first time in his entire undead existence when he’s been in a social situation like this without being afraid, hurt, or manipulated. It’s not a fun party on its own by his standards, but it is a safe party for him. In a way though, safety can be boring. A luxury, yes, but in this case? For him, boring. And boring...might very well be irritating, in an anxiety-turned-irritation fashion, because he’s not being tormented right this very moment. He should be finding something to enjoy, because in his normal everyday routine? In the day to day that he would expect, that his subconscious expects out of habit? Opportunity for any form of enjoyment must be rare indeed, twisted and tainted by Cazador’s ever looming shadow over every minute of Astarion’s vampiric existence so far. It could be anxiety-inducing, to not seek pleasure or some form of happiness or comfort while there is opportunity for it, in what one perceives as a respite from constant, on-going suffering. (”Why do you insist on exhuming the past?” - when you ask about his past in camp, after you know he’s a vampire. An unpleasant reminder of an unpleasant past, why would he want to dwell on it? He has enough pain to last him multiple lifetimes. Literally.) From the deep, deep depths of prolonged suffering, it can potentially take a great deal more intensity of sensation to feel anything at all, let alone something approaching happiness. (”For the first time in two hundred years, I felt happy.” [presumed Astarion-origin line after drinking from a sleeping companion] / “I feel strong. I feel...happy!” [after MC succeeds in persuading Astarion to stop drinking from their neck after giving him permission to do so.]) This isn’t even taking into consideration how vampirism might have impacted Astarion’s psychology on a metabolic/biochemical level, so to speak. Where Larian goes with that is still to be determined, though my money’s on they give him more a murderous edge and natural inclination—not unlike a Beast-lite version of bloodlust from Vampire: The Masquerade— but still keep his core traits very much human rather than supernaturally-alien/2D-cut-out-monstrous. (Or elvhen, if we’re being fantasy-world-linguistically technical here again.) Touching on the matter of monstrous behavior though...It is a powerfully understated moment of casual cruelty that Larian allows the MC to decide once and once only, if Astarion may also drink from people or only animals. It’s so fitting I don’t believe it to be coincidence that he was a magistrate in his backstory—isn’t the MC passing a judgement too on him, a sentence to change his life for the foreseeable future, possibly forever without realizing or perhaps not caring about the full extent of their actions? And one cannot forget Wyll’s comment about the rat diet. Oh, can you not hear the resonating parallel real life pain from how those ignorant of another’s hurts might unintentionally mock the person and hurt them so? How some might apply their own morality from their own life experiences, without looking at the full extent of the consequences of their actions? A life and perspective that more likely has never been tested under the lash and upon the rack of some of life’s worst possible realities? Even if Wyll and the MC don’t mean to be, it is so very, very cruel. It is beautifully painful, Abdirak and the goddess Loviatar would be proud. (”My mind is finally clear. I feel strong. I feel...happy!”) To be denied not just better food, but the ability to think clearly, to feel well, the actuality of being happy as a norm? It is so very hollow an existence to feel so constantly weak of both body and mind, and oh isn’t it just the richest thing, that an MC might echo Cazador’s choice and power over Astarion thusly? It’s enough to make one laugh an Evil Laugh™ of appreciation at just how unthinkingly, horribly cruel a person can potentially be while playing a Good™ character. This is actually a level of genius on Larian’s part that I wonder how many in the audience will actually look at and appreciate the subtle horror of. The horror that we do this too, in real life, sometimes without ever knowing the seemingly small, far-reaching ripples of harm an unthinking phrase or comment can do when we don’t take another’s reality into consideration—that we don’t know what it is we don’t know. It is a fine piece of storytelling, to offer up a story with so many facets to reflect upon. It’s so beautifully crafted that Astarion speaks and dresses like a noble, that he can so easily be perceived as a person of privilege at first glance should one merely look at some of his surface behaviors and inclinations—remnant trappings of his distant past most likely, from once upon a time. It’s a delightful reveal and subversion that he, I think we can safely say, isn’t that. Perhaps he was, once, but he isn’t at this point in his life, not anymore. Appearances are deceiving, and doesn’t that just tie so nicely right into some of Astarion’s potential themes and behaviors? The lies that crack open as truth and pain come bleeding out from underneath? I do wonder how many of Larian’s audience have known hunger—and not known when the next meal will happen, what it might be, if it will have strings attached? The kind of hunger that follows you everywhere, that roots down into your bones and hollows out a home there forever more? It changes how a person sees things, how they act, how they think, even when they’re removed from being hungry all the time. One doesn’t need to be skin and bones to feel like one is starving constantly,—(I very much enjoy that headcanon just to clarify, I’m not intending to throw shade in any of this or future rambling)—to be kept on a hollow diet of empty calories that are enough to keep your heart pumping, but your body struggles because it doesn’t have the nutrients it needs in the amounts it needs? To feel your mind fog over with exhaustion and blanketed despair, a primal and low level desperation whittled down into a tired and numb, anxious background static from adrenal fatigue? Miscellaneous aches, pains and problems that seem unrelated but in reality, if only you knew, were because your body can’t function the way it should ideally, because you don’t have what you truly need? A very real problem in real life, for far too many people. And oh, the beautiful, casual, so very human monstrousness Larian lets us exercise here, knowing or unknowing. It is such a powerful, understated cluster of ideas. And I think Larian knew—someone on the dev team did their homework on both traditional starvation but also what one might call masked-starvation as no doubt other tumblr folks have also speculated, just based off of what we’ve seen and because of that Happy buff Astarion gets when he uses his Vampiric Bite ability in combat. It fits right into his whole theme of “what makes a monster and what makes a man?” (Sing the bells of Notre Dame~♪) But not necessarily asking that question only of him. Rather, asking it also of the MC. This fits into the game’s whole theme with the tadpoles, the choice of using the power and turning into “Something More Beautiful” as Minthara put it, of taking the darker path, it all fits so very well. I just want to applaud this because it’s not a major story-beat moment. It’s a companion-side-quest moment. It’s going to be for the most part seen as a combat-game-mechanic and head-canon defining moment, deciding if Astarion may feed on people or not. I doubt we’d see Larian actually changing Astarion’s demeanor much in how he delivers lines with a “allowed to drink people blood” code flag, as cool as that might be. It very well could factor into later outcomes but for voice acting I doubt they’ll make an entire second/third/etc set of each line spawning from that one seemingly small choice. It makes me very hopeful that Larian can handle such weighty themes so deftly thus far—we’ll have to wait and see if they can stick the landing once the game is finished, but boy oh boy their nuance and delivery so far is strong as steel and sharp as a double-edged sword right out of the gate. The studio is in a fantastic position to explore and to challenge people’s thoughts and ideas regarding character builds like Astarion’s imo, depending on how the dev team chooses to play it out. Seeing some of Gale and Shadowheart’s dialogue trees from the goblin party, I have high hopes that the dev team will allow a great deal of exploration and flexibility all across the moral spectrums, not only allowing us the option to drag the more seen-as-good-aligned characters down paths of moral corruption,—(note: I’m including Shadowheart in more neutral-ish territory for now but the fact that she seems to feel emotionally ill—guilty, one could say—at the goblin party and is busy trying to get drunk to drown that feeling out suggests to me she Definitely does have a more good-aligned moral compass to a nuanced degree)—but also the chance to drag more seen-as-evil-aligned characters along the path to more traditionally good endings and persuade them to see the benefits of playing nice with others per more classic Good™ societal rules (subjectively speaking ofc.) But Larian is also in a very precarious place too—speaking strictly of just the one character as the focus of this essay, Astarion resonates very easily through that very real fear, pain, anger, bitterness and so many other emotions as a result of what he has survived, is still surviving through, and struggling against: trauma. How bitter indeed would it be should a character—that people with very deep, real pain can relate to—not get at least the option for a well-crafted, hopeful and merciful epilogue? Oh the sympathetic pain that Larian could reap could be pain of the very worst kind, if they condemn him to only death and darkness with bleak endings that lack nuance and care. I’ve seen some posts where people worry about Astarion not potentially having a good ending, with possible unspoken implications that he might be railroaded into betraying the MC. I’d like to say that I think a lot of his subtext, even looking at the instances where he lies and the datamined details of the voice-acting-directions, would run counter to railroading him to only ever betraying the MC. I think straight betrayal is going to run as mostly antithetical to his core themes in a way. He might betray your MC—but it will likely be because the MC betrayed him first in a myriad of small ways, or in a big way. Approval-rating-system based choices are a very real possibility too, separately or as a part of the equation naturally, in addition to your major in-game choices. That would also include the scenario of betrayal through using the tadpole powers enough to be mind-controlled into having no will of his own, much like the other characters, including the MC. I do think we have plenty of good, solid reason to be very hopeful that he will have a possible good continuation—not ending. A continuation where he manages to free himself from Cazador with the help of his companions or perhaps dare he even say friends, manages to begin the process of healing the immediate pains of his trauma and learning how to truly live with all that he’s been through and all that he’s done, to have the possibility of not only living but living both happily and well for the most part? Who knows what else Larian Studios might have in the works for him and the other companions, as well as the MC and the story of Baldur’s Gate 3. But good outcomes for all seems like it very likely could happen, for all of the companions. His wiki page’s summary tagline hook in particular offers up that implied promise from the developers to the audience, I would say, “Astarion prowled the night as a vampire spawn for centuries, serving a sadistic master until he was snatched away. Now he can walk in the light, but can he leave his wicked past behind?” What that promise is, varies from creator to creator. In this case, based on the wording, I would say that potentially implies a satisfyingly well-crafted and engaging story wherein we find out and determine if the answer to that question is yes or no, and in a DND-based RPG full of choices that have an impact on the people and world around you? In a game genre that has a history of multiple, varied endings for your companions based on how you play? That checks out. Larian so far has been handling things admirably well in my opinion, and I’m willing to invest emotionally in this story they’re telling with the trust that they will deliver a good continuation and conclusion. But on the off-chance that somehow Astarion’s endings all turn out painful and tragic on the meta for the fanbase, that the associated intentional or unintentional messages wound and grieve those who recognize and resonate most strongly with the pains he has felt? On that off-chance, in that instance where we are left bereft and disappointed because of what happened to him or any of the companions or the story itself should somehow things go awry, then it would be your right to ask Larian the very same question Astarion asked you once: How can you be so cruel?

#bg3 #baldur's gate 3 #spoilers #bg3 spoilers #Astarion #character study #long post #very long post #eXtreme rambling ahoy #speculation #congrats if you can read this all #totally understandable if it's too much text tho #it's long enough and rambly enough that it wandered away from the limits I intended #because I have FEELINGS about this gremlin vampire man #cackles madly #maybe the vampire will stop haunting my brain for a bit now #I have other things to do #aside from writing long contemplation pieces #prepare the angst-grapple-hooks crewmates #why yes I'm going to make silly jokes about pirates and sailing and the like #no I do not have any depth to my knowledge base about such things #I just like their hats man #arr #also not looking to make anyone feel bad or invalidate their hcs or opinions #just want good vibes for all #and more cakes for all #metaphorically speaking #the cake is not a lie tho #well #metaphorically it's not a lie

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w34rdk1dc0r3 · 5 years

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Why Killed Markiplier EXPLAINED (notes)

Hi these are my notes- they’re very sparatic and hard to understand but I figured y’all might want them. They were made while watching Markiplier’s latest stream—the time stamps are for DAMIEN and when Mark paused to explain. I don’t have the time stamps for where he explained everything though!! Sorry!

TLDR; this is me frantically taking notes on whatever Mark said related to DAMIEN. :)) these are unedited, so take the spelling errors and stuff with a grain of salt.

WKM notes:

-0:57 (Go Back to Sleep reference) “oh these are parallels - yeah you’re right these are parallels”. Opening shot of Damien from 0:04 of GBTS. Go back to sleep = wanted to make Damien. “This is the mood I want”. DIRECT PARALLEL.

-Opening, establishing, environment. THIS IS JUST HOW FAR DAMIEN WENT EVERY DAY; HE HAD TO GO THIS FAR JUST TO GET WOOD. VERY LONG WALK.

-1:05 Celine is an observer, waiting for him to come back.

-2:11 Wanted to flesh our Celine as a character. Celine = Unknown. “I am not a perfect writer, I’m not a great writer; I’m better than I was.” Celine introduced as not a perf character: motivations UNKNOWN/never determined. “Don’t trust the seer” =\= don’t know what she does/represents. Damien brother/sister canon; had something to care for. THERE TO PROTECT HER BROTHER!!!!! Damien has simple job.

-3:22 “mostly like- I wanted to write dialogue to establish relationship” Celine = overprotective controlling older sibling. Nice dynamic/friendly/showcase flower is not normal. THINGS ARE LOOPING; Celine stops “did u really see a flower?”; strange. SQUISHED. “Starting to sound like mom”

-3:30ish Damien SUDDENLY GETS TIRED. On a LOOP. Winter will be over soon. Trees covering hills = every day he goes to cut a tree. Endless trees. Living SAME EXACT DAY. Celine goes out at night to do business/job. NUMBER OF TREES NOT THE POINT. PURGATORY. FLOWER = FIRST CHBGE.

-4:40 flower: PINK!!!!! dialogue EXACT LINES from WMLWS. Winter -> spring, leaving purgatory. Flower = warfstache peeling back layers covering up world/crack code of matrix/starting to spread out. Flower just a result of warfstache coming to terms with what’s happening and where it’s going. Time is wishy washy. Time has no start or finish of it. Exists = always existed. Everything unified space, someone breaking rules over HERE spills out and effects others in that place. Rules change = rules change for everyone. Dialogue saying that THIS is a RESULT of warfstache, not!!! a conscious choice.

-5:21 pattern!!!!! established

-6:52 something is definitely changing and Celine is worried. Celine goes out to HUNT FOR ACTOR!MARK, NOT TO GUARD. GONNA KILL ACTOR!MARK. Go back to sleep/wake up: duality of two characters having to share a body. Celine made THIS place for broken things(Damien!!). Celine made mistakes in WKM; misjudged actor capabilities. Celine always tries to protect Damien!!!’ she would do LITERALLY ANYTHING to protect Damien. “YOU NEED SLEEP”-damien can stay “alive” only because he sleeps. Not getting enough sleep= you absolutely need to sleep while Celine is out bc you can only be yourself if that is so.

-7:45 bc warfstache is unintentionally breaking universe they’re in, actor!mark can take advantage of it. NOT deception. This day is important because change started NOW—everything before was looping. Damien cutting wood/useless task = Celine’s stuff in an endless loop too (finding mark). SOME control, not IN control. No one is IN CONTROL. Matter of them both being in purgatory until warfstache comes to term with his place in the world.

-8:32 can see shadow of figure in ice.

-9:33Damien’s led to believe Celine is in the water lol. Door of cabin locked from outside. (Flower)= no meaning. “Everything is very plain. With this, it is similar. Everything is very plain.” Too focuses on the details. Winter = seems like purgatory.

-10:02 voices - wanted something to fill the spaces of everything. Auditoría Kay engaging. Hearing things behind the scenes. “Why are you hearing voices?” Not abt what the voices are saying.

-10:13 Actor!Mark; very hard to voice 2 diff characters and have them sound remotely different.

-11:01 Wilford/A!Mark same line. Convey two different people who both (at this time of story) were saying apologies. TWO confrontations happen = similar (detective warfstache/Damien Mark). Similar convos, different people. Things happen in different ways because who they are. Will actually says an apology, actor mark NEVER apologizes.

-12:07 very first conversation we have with the actor. ONLY SAID ONE LINE “welcome welcome one and all, etc.” If something is not ON THE SCREEN or implied in some way, it isn’t 100% proven. Going through summary is PROOF of his crime. “Plans weren’t exactly properly executed”. What he wanted only happened 50%

-13:01 “Celine needed to have motivation to have a character/drive”. Can’t just say actor wanted revenge without painting the kind of person he is. He can’t imagine other people not loving that; thinks he’s doing Damien a favor. HES A NARCISSIST. “Nobody is fully evil or fully good”. Reason he thinks he’s the hero is bc if his perspective, he IS; everyone else is the villain/did him wrong.

-13:43 “oh yeah Wilford STOLE Celine from me lol” STUPID AND NARCISSISM WACK. His career tanked after she left. “It’s her fault bc he lost everything”. “I’m gracious because I decided to move on”.

-14:28 Damien starting to remember but doesn’t understand everything; big dummy softy. Doesn’t realize he’s KINDA dead. Rotten corpse = his reflection.

-14:59 actor wants MORE characters in his story; he wants a villain. Confusion of what you’re supposed to do- represents Damien’s confliction “when do I have a CHOICE??”

-15:30 for so long Wilford/actor have been “If Celine even saw me she would rip my heart out”; “Celine is a FUCKISBNG badass.”

-16:18 Damien just wants to make a choice “life is ours to CHOOSE”. Fire going out = Damien feels dead. Cold, dead.

-17:07 music=wanted to carry on emotional connection. Celine: “I’m tired” she has never slept; watching, hunting, NOT RESTING. Celine is a creature of willpower that she powers through it. Damien: “Am I dead?” Celine: “NO!!” Not on my watch; wall cracking-> sanctuary crumbling. “...no” :(( “I’m so tired”. Celine both starts to admit defeat, but then she picks herself back up. Damien cares so much about her and is very protective about her. Shared line: “just be careful/I can take care of myself (I don’t need help, especially from you.” If she keeps going down this path, she’ll never get out of it (same thing with Abe). Damien/Will want to help.

-17:23 “I know you can’t take care of me forever”; Damien making a choice, IMPORTANT. He trusts that Celine is trying to do the best for him; knows whatever she’s doing/her motives are, at the end of the day, she’s his sister and he wants to help. Whether or not that means things will change for him. Damien’s one moral: This is a story about coming to terms that life throws at you. About someone that didn’t choose things to happen to them, but (In mark’s mind) it’s not about what happens, it’s about how you respond. The choices you make when that happens; it may not always work out but those choices define who you are as a person. At the end of it all, Damien doesn’t understand but he knows Celine can’t do “this” alone.

-17:54 Damien knows he can’t go back to the life he had, and he’s okay with that. “He’s OK that Celine tried to fix, but trying to fix him will get her killed. And he’s okay with him not being fixed”.

-19:49 Celine has been doing everything herself; Damien is offering help. CELINE ISNT DEAD HECK YEAH. “This isn’t a place of the mind-“ fake water. SHE IS SLEEPING UWU UWU. MARKIPLIER TV INSTANTLY AFTER THIS.

-EXTRAS:

•Overarching meaning/story: “These are stories.” In the universe, the world they live in after WKM is stories. They’re acting our scripts/videos because they are characters in stories. It doesn’t matter what was said, it matters why. Celine/Damien live in that story because she made up a narrative for them. Nothing happening in DAMIEN is truly real. Actor wants the ideas of hero’s/villains, he wants to imagine and play pretend. The house is just an analogy for Mark’s imagination/head. CANON that there are plot holes.

EX Detective Abe: (WMLWS) He is going to be the detective in every story. Whatever detective role he needs to be. Doesn’t know why he has to hunt Will down. Hasn’t lived “The Detective”’s life, so he doesn’t know the details, doesn’t have the script. Wilford is acting out of the script because he isn’t IN the script; he’s having FUN.

•Damien: empathy / Warfstahce: insanity, zany, doesn’t always make sense, goofy, fun!!! / ACTOR: Narcissistic part of Mark.

•In “this universe” (the Masson/mark’s Brain), characters act out their lives-> transformed where life doesn’t make sense.

•Not all characters are a part of MARKIPLIERS personality. Characters not representing mark were before actually mark. Went in the mansion ->they were trapped there, the mind (of another Mark?).

•The viewer is, under those terms (an observer), right there, behind the class. They’re the viewer.

•After WKM, we’re watching everything unfold. We’re forced to be an observer -> we can’t change or do anything, only watch. We aren’t trapped with the characters.

•In CANON, Damien -> Markiplier TV.

•A Date with Markiplier doesn’t wrap in with this. Everything happens AFTER WKM.

•Actor SPIRALED bc he couldn’t accept that he lost roles/his wife left him. His choice was to create a situation that tore his entire friendship/ppl that cared abt him apart. He killed/destroyed lives/did terrible things bc that’s how he replied.

•Warfstache was thrown into situation where former friend contrived a situation that took everything away from him. Justification was madness; things didn’t make sense to him so he choose to role with it and enjoy things while they were there. Temporary nature of life is why it’s so precious. Lives in the NOW, the MOMENT.

•Damien has no choice of what was happening. Didn’t understand why his friends tore themselves apart/Will didn’t care/Mark dead/sister suddenly there performing occult things. He was robbed and had things stolen from him; he’s the kind of person that wants to help, he also wants revenge. But the point is: the choices that led him to where he was were choices that helped the ppl he cares abt.

•Who is the character in this universe that is the opposite of Mark (what he said abt darkiplier)?

#markiplier #WKM #who killed markiplier

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lokgifsandmusings · 7 years

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Definitive Ranking of Book 4 Episodes, #1/13

1. 4x02 Korra Alone

Non-linear all around perfect episode that explores Korra’s struggles with PTSD and I can’t even be funny about this. Oh and Toph.

This is a post that’s taken me some time to write, because addressing the perfection of this particular episode is a daunting task. I mean it. It’s not just the best episode of Book 4, it’s the best episode of the franchise. The most daring as well.

For a little bit of context, there’s an incredibly popular episode from Avatar: the Last Airbender called “Zuko Alone.” It picks up after he leaves Iroh in “Avatar Day,” because his uncle kind of pointed out that the hunt for the Avatar might be a tad on the futile side. His brain can’t reconcile this, so the episode instead shows him trying to blindly stick to this task, while feeling as though he has no place in the world, and being rejected by anyone who finds out who he really is. He struggles with inner darkness, inner pain, and the whole time his story is punctuated by flashbacks of his relationship to his sister, his mother’s disappearance, and his father’s ascension to Fire Lord.

I’m not sure I’d call it the high point of ATLA (“Crossroads of Destiny” gets that honor), but it is kind of everything with regards to Zuko, easily one of the strongest characters Bryke have ever written. Also it did a great job of not endorsing his self-destructive tendencies or making excuses for him.

“Korra Alone” was announced (and screened) at the 2014 New York Comic Con, and when Bryke first said the episode title, the audience screamed. Smugly, from the comfort of my couch, I shook my head at the livestream and declared that there was no way this could measure up.

Well, color me dead wrong. I forgot that it was starring Korra, and she not only measures up, she creates a new goddamned reality the world didn’t know it needed.

Just thinking about the episode for first-time viewers, it does exactly what it needs to do. It’s impactful coming off the [mostly] Korra-less “After All These Years” to not just see her, but feel what she’s going through and feel that isolation, even when she’s surrounded by her parents and other loved ones. Though it somewhat takes on the travel+flashbacks format of “Zuko Alone,” even Korra’s present-day plot isn’t strictly sequential—most notably with us learning the real reason she entered the earthbending cage-match, with the flashes moving faster to get her to the swamp. It gives the entire episode a very ungrounded feel, which for the viewer does two things:

You desperately begin to want Korra to connect and be stabilized, because there is an inherent discomfort from the loose form for your brain (not a bad thing...an effective discomfort)

It REALLY gives the impression that time is passing in this episode

The second point is especially striking when you consider the scope. We’ve got in one “plotline” (for lack of a better term): Korra underground fighting, following a ‘dog’, and getting sucked into the swamp where she meets Toph. This alone covers significant ground. Then we have her flashbacks of leaving Republic City, not improving in her home and Senna begging her to go to Katara, Katara’s first healing session, the letters from friends that paint time as passing, Katara’s ‘wiggle your toe’ session, Tenzin visiting, Korra’s narrated letter to Asami while she meditates and trains, her leaving the SWT, her failing to apprehend the thieves, turning from Yue Bay, cutting her hair and donning new clothes, the tree of time scene, then traversing every possible landscape.

HOW WAS THIS ALL IN A 22 MINUTE EPISODE?

Yeah. This is three years, no question about it. It’s visually stunning, but there’s also this extreme sense of loss that the viewer is clued into, and the aimlessness that is heavily felt. Korra’s physical appearance changing was the external manifestation of this, and the symbolism surrounding it was as clear as when Iroh and Zuko did the same nearly 8 years prior. Toph popping out at the end is the one bit of relief, and it *really* shines, especially given her voice actor being perfect and sounding instantly familiar to us (did Philece Sampler just watch hours and hours of Jessie Flower footage or something??).

I can’t see this not landing for someone the first time through, to be perfectly honest. It sets up Korra’s journey for the season, and with her still out of touch from Raava and still away from friends and family, there’s a lot that needs resolving, and that the audience should definitely want to see resolved.

Placing “Korra Alone” in the context of the entire season, and the series at that (or even the franchise) is a different ballgame. Not a worse one, but it certainly means that you can consider this in Korra’s healing arc as a whole.

I’ll fully admit I was not 100% on-board with Dark!Korra being the representation for PTSD at first, even though this is, at the end of the day, a Y7 show that needs to break down these concepts to children. However, it worked within this episode, and given how the whole thing was resolved through mindful meditation (plus how the little bit of metal Korra extracted didn’t end up being a cure-all), I think it justified itself in a general sense.

In the case of “Korra Alone” alone (lol), it worked in a sort of 3rd person omniscient way, to quickly convey Korra reliving this moment and having a ton of anxiety each time it occurred. What had the potential for being a bit of a cheap visual metaphor instead mostly landed, giving us a kind of visceral understanding of that anxiety (and as someone who’s had to explain what that feels like to people who’ve never experienced it, that’s really no easy task).

When it comes to Korra’s healing arc as a whole, I’m going to have to be an asshole and tell you that Gretchen ( @theonewithpurplehair ) and I are planning on writing something about it when she gets back from South Africa. It will be lengthy and emotional and talk about THEMES and how important this is. We do that.

But even in advance of it, I think there’s a point to be made about Bryke choosing to have a healing arc in the first place. They didn’t have to, you know. And for some, especially in light of the indelicately worded “I needed to suffer” quote from the final episode, having two white men use a bisexual indigenous woman to explore a story about recovering from extensive trauma is uncomfortable, which is absolutely a valid tension.

However, something I think @glamourweaver highlighted best back when fandom dialogue was more...heightened, was that like it or not, Korra’s gone through major traumas throughout the show. In Book 1, she lost most of her bending and was so affected there was not-subtle-at-all suicide imagery included. Then Aang’s magic touch fixed her depression! Yay!

In Book 2, she had Raava ripped out of her and lost her (admittedly newfound) connection to her past lives, calling into question her very identity as the Avatar. The whole astral-projection thing she did? That was just Korra’s strength of soul, separate from anything to do with reincarnated powers. So yeah, reconnecting with Raava and becoming the first Avatar of a new spiritual age would totally be healing, but the idea that there’s no trauma she’d need to explore? Book 3 is near and dear to me, but in many ways it almost feels like a new show, complete with not bothering to tap into implications of the first 2 seasons. Whoops!

It’s yeah, not great how much she was put through the wringer when you get down to it. But Bryke are conscientious and tend to fix their mistakes. In a lot of ways, Korra being given PTSD—like...realistic PTSD—and an ensuing healing arc in Book 4 was the direct answer to everything previously glossed over.

The result? To that, I’ll just go ahead and quote @beccatoria’s essay (seriously, read it), because it lays out the meaning so well:

“This brings us to the final part of my argument: forming new meanings. The therapies I have mentioned so far focus on the physiological issues. The brain blows a fuse and can't process what it has experienced, so if you fix the fuse, you fix the processing problem. This still leaves a person who has been through an extremely traumatic event. PTSD almost always presents alongside issues such as depression and can lead to feelings of isolation and guilt. Individuals may either feel emotionally disconnected or emotionally out of control and have often internalised damaging messages as a result of their trauma. There is often a focus on creating new meanings as these memories are re-examined. We see this in Korra's evolving attitude to her own experiences.

Zaheer asserts that her power is limitless. She should never have been able to survive the poison. He offers her an opportunity to recontextualise her survival as evidence of her enormous resilience and strength rather than as a failure because she did not survive unscathed. While she is recovering, Katara tells her about Aang and how he chose to find meaning in his suffering. “What will I find?” Korra wonders. “Won't it be interesting to find out?” Katara asks. The answer comes in her final conversation with Tenzin. Korra chooses to form new meanings for her experiences, and chooses to find a message of compassion and empathy.”

Yes, the landing was not 100% perfect, but the recontextualization of her suffering and subsequent empowerment through that was clear. Korra ended the series hopeful about the future, and more at peace than we had seen her—certainly more at peace than that flailing teenager who was more willing to demand a duel with Amon than admit fear. She had grown and found ways to reconcile what happened into how she wanted to lead her life.

Do you mind if I get personal for three seconds? I have general anxiety, as well as a very specific (and admittedly mild) trauma associated with driving, and though I’ll never equate my experience to Korra’s brutalization (seriously, mine just involves a hangover, a large cup of coffee, pizza, and a bridge), there is something about that terror of being out-of-control I identify with, and it features so strongly in Korra’s arc. I also know what it’s like to want to will something away and fight against everything that’s happening. Why can’t my stupid brain just STOP?

But the thing is, like beccatoria said, it’s about contextualizing it. Anxiety never goes away, and it certainly can’t be willed out of the forefront. But you can choose to look at things with a new point of view. To be able to sit with a feeling and recognize what it is, even if it’s massively uncomfortable or puts your body in flight-or-fright mode. Personally, I’ve come to look at my anxiety/intrusive thoughts as a very badly behaved cat. The cat is weirdly trying to protect me, and truly thinks this is what will help keep me safe, but well...it’s an idiot:

Still, it’s *my* idiot, damnit, and now when I drive, I can just picture her in the passenger seat chewing on the emergency brake. She’s also the survival mechanism my brain came up with to shield me from more chaotic forces in my life, and that’s kind of neato, when you get down to it.

*Kind of*, okay? (I still need to replace this chair, though Trystane Nymeros has done more damage to it with his many toes).

The point is, Korra’s story is powerful and salubrious because she just...goes through hell and back, she really does. But she not only finds meaning in it, she finds positivity and hope. She is at her MOST secure when she flings herself in front of that spirit gun, and then talks down the season antagonist with a few words. It’s uplifting, without pulling *any* punches on how ugly and terrifying and isolating PTSD can be.

There were punches thrown outside of “Korra Alone” too, but that was the episode that waded in most deeply, and somehow did it in an appropriate fashion for a Y7 show. I can’t sing its praises enough, truly.

Having laid this all out, it seems almost trite to mention the Korrasami aspects of the episode. It didn’t escape the fandom that Korra telling Tonraq and Senna she wanted to go back home read like a coming out conversation, and the “Dear Asami” sequence is without question the most stunning of the episode. Though @queertoonqueertoons lays out why there’s other reasons for that as well. But like, what can be said? Korra lets herself be vulnerable around Asami in a way she won’t with others, and Asami asks for very little in return. It was a nice, continuing thread, but it never became a focal point of the episode, or the series, so shame on me if I buck the trend.

I can give overall thoughts on Book 4 when I pull together the final post for this ranking, but like Korra, I think I’m ending on a pensive and positive note. “Korra Alone” will do that for you, even though it may be the darkest episode of the franchise. What a masterpiece.

#13: 4x08 “Remembrances”

#12: 4x11 “Kuvira’s Gambit”

#11: 4x09 “Beyond the Wilds”

#10: 4x07 “Reunion”

#9: 4x06 The “Battle of Zaofu”

#8. 4x12 “Day of Colossus”

#7 4x01 “After All These Years”

#6 4x03 “The Coronation”

#5 4x04 “The Calling”

#4 4x05 “Enemy at the Gates”

#3 4x10 “Operation Beifong”

#2 4x13 “The Last Stand”

Book 2 ranking/essays found here

#korra #lok #lok meta #korra alone #book 4 ranking #meta #korra 4x02

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