~ The Eclipse Tapestry ~

@lordshiroelune

Why I Believe Angel and Husker Will (or Should) Be Endgame

As a shipper and a writer, I pride myself on finding the meat in shipping material, and despite how little official content for it is available, Hazbin Hotel’s juiciest pairing (by my observation, and not counting Charlie x Vaggie cuz that’s already canon) is Huskerdust or Angelhusk, the main mlm pairing in Hazbin Hotel between Angel Dust and Husker. While I’m a big fan of any mlm pairing no matter how small the serving size, this one is an absolute feast, and I want to explain why I think that is, because Angel flirts with multiple men in the first episode, namely Sir Pentious, Alastor, and Husker. So he just comes across as a relentless flirt, but I believe his destiny truly lies with the grumpy sourpuss bartender.

Given what we’ve learned about Angel Dust from the Addict music video and the prequel comic, it’s becoming clear that Angel doesn’t exactly love his situation. He pretends it’s fun and glamourous for his image, but it’s all an act. In the very last pannel for the comic, we can even see a box of dildos in his room with the words “for fun” crossed out, and the box being relabled as “work stuff”. I believe that Angel’s arc and character growth will be strengthened by having a love interest who cares about Angel as something beyond a sex object. Travis and Valentino clearly only see Angel as a piece of meat. Even Tom Trench one of the... less horrible denizens of Hell we’ve met, only recognizes Angel as a porn star, implying that he too only values Angel for his body. The creators have even verified that Angel will have a love interest in the series. So, that’s the easy part. Angel’s very clearly a gay man, and him having a love interest will help put the romance back in relationships with men for Angel. No surprises there. So why will/should it be Husker who fulfills that role as Angel’s redeeming lover?

In the simplest terms, it’s because their needs fit together perfectly. Angel needs someone to care about him romantically that also values his emotions, mind, and autonomy instead of just his body. Husk has likewise pretty much spelled out the flaw he needs to fix. He lost the ability to love years ago. Whether he just shuts out his emotions, someone broke his heart and now he’s jaded and bitter, or he freezes out his feelings so he won’t get hurt again, Husk has rejected love and his feelings. Learning to love and open up to Angel helps Husk to overcome those toxic coping mechanisms. Especially because his other vices such as drinking, are an extension of his core issue. His hang-ups with love. He drinks to forget and suppress. Overcoming his issues with his emotions will help Husk free himself of other sins in the process. Now the important issue though, does Husker even like boys? Yes, he does. Husker was confirmed by members of the crew to be pansexual, so he is capable of finding Angel attractive. Also, on a related note, Alastor is both Asexual and Aromantic, so he’s very unlikely to give Angel the core thing he needs, the tender appreciation of his romantic partner. That’s not to say Asexuals and Aromantics can’t date, it’s just less probable. And all the other males are either villains, or objectify Angel already. Which kind of leaves Husker as the best candidate for Angel’s love interest, at least currently. In fairness we know very little about Baxter, but that’s the thing. Without knowing anything about him, we can’t really weigh him against the other options.

Character design is very important, as it can provide visual cues about a character. Looking at these two, they share a lot of similarities. Starting from the top, while not visible here, there is a heart-shaped spot on the back of Angel’s head, and this heart appears as well on Husker’s forehead, palms, and wings. More importantly, I may be wrong, but I believe the only characters with hearts in their design are all connected to Angel. Only Travis and Val share this heart motif, two men Angel has had sex with, though in Valentino’s case, it's not always willingly. They share their wearing of a bow tie, but to be fair, Charlie wears one too, as does Sir Pentious, so it’s a weak connection. Color theory also matters. Firstly, they are Yin and Yang. Angel is mostly white with a few dark accents, while Husker is mostly dark gray/black with white accents. Angel’s left eye, bow tie, and shorts/skirt are also the same color (or pretty close) as Husker’s darker fur patches on his forearsms, ankles, ear tips, and whiskers. The stripes on Angel’s top also repeat in Husker’s ears. Finally, while not repeating on Angel’s design, Husker’s fur on his ankles resembles spats, a fashion trend from the early 1900s. Although this trend was pretty dead in widespread use by the 1940s, it remained popular with gangsters and mafia, so much so that it’s almost a streotype of mafia. Angel’s family was an Italian crime family involved with mafia dealings. So while it makes little sense for a man who died in the 1970s to be wearing spats, it connects him to Angel’s ballpark of time as well as drawing connections to Angel’s past and his family.

Hazbin Hotel has Instagram accounts for the characters, and using Husker (bar_cat75) Angel Dust (angie_fluffy_bootz) and Niffty (babyfeathrdustr), we can put together further developments in their relationship off-screen. Starting with one of Husker’s posts, we see Angel leaning on the bar offering him a ticket to his “peep show”. The next post shows Husker still at the bar, but now there’s drool on the counter, and we can see the back of one of Angel’s legs and the red smoke from the Addict video trailing behind him with the line “Fuck, I passed out. Did I miss something?” Next, there’s a post from Niffty of Angel leaning on the railing smoking as he does in the post-credits sequence of the Addict video. Granted, I can’t tell how much of Addict is prequel and how much is happening in real time following the pilot, but we know at least the ending is canonically after the pilot episode. Seems like Angel wanted Husker there (we don’t know if he offered tickets to anyone else) and he seems bummed that he didn’t go, with a later message from Husker (that I can only seem to find in Tumblr posts) with Husker realizing that he missed Angel’s show and feels bad about it. As “owing” Angel a favor for missing his show, Angel leaves his beloved pet pig Fat Nuggets in Husker’s care, who proceeds to eat all of Husker’s limes and cherries. Now it is very important to point out that Fat Nuggets seems to fill the dual role of “purse dog” and emotional support animal for Angel, so leaving him in Husker’s care shows a lot of trust because this animal means a LOT to him. There’s also apparently rumors that Alastor keeps trying to eat Fat Nuggets which... I haven’t found a credible source for. But if Angel is worried about Fat Nuggets’ safety, him trusting Husker to protect his pig only further demonstrates his trust in the grumpy old booze cat. Upset about all the fruit Fat Nuggets ate (because it’s not easy to get in Hell) Husker wants Angel to pay to replace what the pig ate, but Angel argues that because Husker owed him a favor it’s not his responsibility. Angel says he’ll pay him if Husker agrees to come to his next show, and they compromise to get milkshakes instead. The creators said Husker was a Tsundere, and it shows. Someone called their outing a date, and Husker was QUICK to shout that it wasn’t a date, just settling up on a favor. This almost plays out like an episode 2, turning the Addict Video into the jumping off point for a second story in the hotel. I don’t know how many full narratives will come out of the Instagram accounts like this, but it’s really cool how they’re approaching this almost like a multi-media story, and I’m curious to see if this will continue when the show starts airing on television. One last thing of note is that in Angel’s latest post, there’s pictures of Fat Nuggets, Cherri Bomb, and Husker on his bedroom wall, much to Husker’s annoyance. In all of these Instagram posts, Angel seems to now be training ALL of his attention on flirting with Husk, to the point that unless another character sweeps Angel off his feet or causes Angel to start flirting with them instead of Husker, I think this pairing is sailing quickly and unopposed toward the canon zone.

I hope I’ve provided sufficient proof to back up my wild accusations, but I sincerely believe all of the building blocks have already been assembled to create a compelling romance between these characters. The flaws they need to overcome interlock with each other perfectly, their designs draw connections between them, and their Instagram accounts weave together a narrative for a soft Episode 1.5. I believe all of this together points that these two are meant to become a romantic couple, and if they aren’t, then maybe the showrunners should consider it.

Kill Your Darlings: An Analysis of its Twists and Themes

A few days ago, I watched Kill Your Darlings, and needless to say, I became completely mesmerized by it. Naturally credible characters with well-crafted backstories portraying a true story of Love, Obsession and Murder, it's everything a person could ask for in a movie. The colour palette of the movie radiates comfort and the sound track takes you back in time when these two bright young men were falling in love. Right from the start it was apparent that there were many themes in the undercurrent of the movie, and these were such that required some amount of thoughtful contemplation. And I was incredibly sorry to not find any post or review which critically discussed the themes of the movie and did it justice- so after doing some reading and digging up as much as I could, here I am making an attempt to analyze the twists and themes of the story.

The Crucial Plot-twist

The Night In Question- why the movie's recounting of the events is fictitious:

When faced with the prospect of writing the deposition for Lucian, Allen tried his best to gather information about the events that led to David's murder. However, it proved to be a difficult feat as Lucien himself would not speak much about it clearly. So he pieced together what he could from the bits of information he got. However, we see Lucian vehemently opposing the deposition written by Allen and claiming it to be false. After some thought, I find that I believe Lucian's claims. Most of the following arguments are rooted in the fact that Lucien's relationship with David was an abusive one, where David basically groomed Lucian and was a sexual predator. I suggest reading my post here to gain more insight about how the abuse affected him.

"You weren't there, you don't know what happened." These words right here- they're the words of a victim. Being subjected to a form of sexual abuse myself, I found these words hitting me like a brick ton. These are words coming from a pained soul that refuses to recount traumatic incidents. He's practically saying that the abuse was so bad he had to kill his abuser to be free from it.

Even after Allen saw first-hand what a total creep David could be, even after knowing the man had stalked Lucian across multiple cities, he had to ask Lucian why the latter killed David when he "could have run". This tells me he couldn't exactly relate to Lucian's situation and wasn't very keen on believing him. Although he displayed a moment of intimate affection, there's still a lingering feeling of yeah but he broke my heart inside him. After learning how Lucian drowned David, he even begins questioning if he should help him at all. At this point, Allen doesn't trust Lucian enough to actually care how accurate the story is. So he wrote what he could, what he felt right. But even he couldn't condemn his friend/first love to such a fate as prison, so eventually he submitted it as his final paper. In all honesty, I thought that turning it in was a brilliant move, and one which also further proved that the "once you loved him too" version was mostly fanciful fiction.

Throughout the movie, sequences have been played in reverse frames (and I found this so pleasing) and from the nitrogen-inhaling scene, we know that these sequences designated memories playing out in Allen's head or his subconscious creating dreamscapes. And here's the catch- the entire scene of Lucian taking a walk with David and eventually killing him began with frames played in reverse order. This gives the absolute proof that the movie's depiction of the events were fictitious.

Allen's P.O.V. of the events mainly relied on the argument that at some point, Lucian genuinely loved and needed David. This couldn't be further away from the truth. When you're 14 and and being groomed and coaxed by an older guy, a lot many things could feel like love because you haven't experienced them before; but in reality, it's never love, it just is another form of violence.

Themes running through the movie

"There can be no Creation before Imitation"

We see Professor Steves saying this at the beginning of the movie, hinting that it would be a theme in the story. This statement is reflected throughout Allen's progression and development as a poet:

In the beginning, we see him being hugely influenced by his father's works and possibly trying to imitate him through poetic devices such as consonance.

Next, we see him imitating Professor Stevens' style of writing in his poem "the rose that scents the evening air, grows from by beloved's hair" which Lucian outright criticizes.

It is only with the poem Allen recites to Lucian on the boat that he starts developing some sort of originality. That poem in particular is directly drawn from his personal experiences and delivers splendidly.

This development continues as he proceeds to write "The Night In Question" wherein he brilliantly describes his opinion of how things went down. It was this streak that would eventually propel him to write his most celebrated poem, "Howl".

The Circle of Life and How Allen Breaks it

We see Lucian telling Allen how "Life is only interesting if it is wide" and about Yeats' "Circle of Life". As displayed by the linked document, turns out the circle of life is quite complex a thing, and the movie displays a lay-man's version of it. As Lucian tells about it to Allen, unbeknownst to them both, Allen also enters the circle and changes the turn of events:

It is obvious that at the party at David's, Allen was a misfit. David even goes so far as to literally call him out and point how unremarkable he was, but says how given the correct circumstances, even Allen could change things. And what's extraordinary is exactly this happens next: the liquor runs out in David's party and Allen suggests they should change the venue of the party- hence hijacking David's party!

We see Allen's life widen as he becomes closer to Lucian and starts doing things he'd never done before. At the same time, he also plays an important role in changing Lucian's life as well. It's Allen who suggests at first that Lucian should break up with David and stop taking his help. Later in the movie, after learning about David's obsessive behaviour, it's again Allen that said "we should get rid of him". Again, here we see some foreshadowing. Allen could have worded it in any probable way, and yet he suggested getting rid of David which subtly implied killing him. I do believe that this happened to become a subliminal suggestion to Lucian and furthered his murderous intent.

Hence, although Lucian radically changes Allen's life, the latter does so too in unlikely and unexpected ways.

Sacrifices (and Rituals?)

Since the beginning of the movie, we know that the characters are all extraordinary men and that they are capable of something revolutionary. But it was apparent that all of them would need a catalyst to set things in motion- a sacrifice of some sort which would help them break their moulds and free their inner poet. Allen's love for Lucian and his wish to impress him did make him work toward become better at writing. It was the fear of completely losing Lucian to Jack that made Allen put all his effort into writing, and made him come up with his best work yet - here, the fear acted as the catalyst.

However, the most significant thing in connection to this happened in this scene where Lucian cuts both of their palms and holds them up together - this can be considered a Blood Ritual.

"A blood ritual is any ritual that involves the intentional release of blood. Blood rituals often involve a symbolic death and rebirth, as literal bodily birth involves bleeding. Basic to both animal and human sacrifice is the recognition of blood as the sacred life force in man and beast. The participants may regard the release of blood as producing energy useful as a sexual, healing, or mental stimulus. In other cases, blood is a primary component as the sacrifice, or material component for a spell."

The fact that this event took place inside Allen's head during a trippy session outlines how Allen had subconsciously taken a blood oath with Lucian to further The New Vision. This process of developing their revolutionary ideas would successfully progress for the rest of the movie; however, before its completion, the oath demanded a sacrifice- and the murder of David became this blood sacrifice.

"With Death comes Rebirth"

In the first half of the movie we see the initiation of this theme; after they've agreed upon to bring up something revolutionary, Allen talks about how rebirth comes only after death, and in their naivety, they play out a pseudo-suicide scene to imitate death. Little did they know greater sacrifices would have to be made. Eventually as events play out, we come to realise that it is David's death that became the cause and medium for their rebirth- both academic and intra-personal. Jack and Bill co-wrote the book "And the Hippos Were Boiled in Their Tanks" about the murder of David Kammerer, and eventually rose to fame, while Allen became popular with "Howl and Other Poems", none of which could have been initiated/inspired without David's death. As for their personal growth, none of them were the same as they were before the affair. I like to think all of them changed for the better. Lucian must have finally felt a sense of relief after getting rid of his abuser, while Allen finally took-off his rose-coloured glasses, saw Lucian under a more critical light, and developed a sense of self-esteem.

A Study in Violence (I was unsure whether to include this point in this analysis or not due to the violent nature of it. But I figure this analysis would remain incomplete should I leave it out. So here it goes..) The sequence from 1:10:00 to 1:12:00 was an in-depth survey of Violence and how it can occur in different forms. In particular, it focused on how any form of penetration is intimately violating.

We see a lonely Allen being so lost that he's about to have sex with a complete stranger. This itself is very unlike him, who in the beginning of the movie was shying away from Lucian kissing an unknown girl. A few sequences later we see how he wasn't very comfortable with this idea (he wanted to turn off the lights but the other guy turned them on) and yet he was made to shift into a position he did not prefer and hence was made to have rough sex.

We see Bill looking very solemn and injecting drugs into his hands.

We see the violent altercation between Lucian and David. We see David forcing himself on Lucian and eventually being stabbed by him.

We see Jack recieving the news of the death of his friend.

In this way, we see every member of the group being exposed to some form of violence, be it sex, drugs, physical altercations or death.

First Love and its aftermath First love is also an important theme of the movie as it shows how one's first love has the capacity to radically change a person from within:

Allen's first love changed him from the shy, people-pleasing always-upright persona to the bold, radical, critical and unafraid person he became at the end of the movie.

Allen's discovery of his own style of writing can also be majorly attributed to Lucian's criticism of his rhyme-schemes.

All in all, it was his love for Lucian that drove him to become a more out-going person and ignited the mischief in his spirit, while the heartbreak of realising Lucian didn't feel the same for him also lent him invaluable insight and allowed him to develop confidence and a sense of self-esteem, which would play a significant role in him eventually becoming his own person.

While Allen's first love furnished him with the overall better things in life, the same could not be said for Lucian, sadly. Lucian's first love reminded us how oppressive love can become if the other person isn't suited-well for us; it showed us how sometimes love and obsession are separated by a thin line, and how dangerous it becomes when the line is crossed.

Lucian's story also showed us how sometimes a relationship can be more abuse than love, and when that happened, how easy it became to confuse violence with love.

The most significant message that the theme of first-love portrays is that there will always be consequences.

With this, I bring my arguments and analyses to a close. I hope a future (or even past) lover of the movie happens to stumble upon this someday and learn something fascinating about the movie (or reignite their love for it). Thank you for reading this far!

[P.S. an uplifting fact: in real life, Lucian, Allen, Jack and Bill each got the type of life they wished for, and remained friends for the rest of their lives :) ]

Lesson 52 analysis + 53 predictions

Turning this into a routine thing now! They’re fun to write and they’re popular (moreso than my actual commentary posts lmao).

Y’all like my ramblings.

Things guessed correctly from prior lesson

The House of Lamentation was an illusion produced by the fairies

The arc culminated in the completion of the Trial of Patience (star received via Simeon)

The illusion did a number on Simeon's feelings as well due to his fondness for Lucifer and the brothers

They shoved Mammon and Luke off to the side and plopped them back in only after the Satan/Simeon arc was complete. There was no arc for Luke. To be fair, though, they did get more content than I expected even so.

Things guessed wrong

The banshee didn't show up at all. It was a red herring.

There was no significance to the geranium found in the mysterious book

Our adventure also completed the Trial of Generosity. (I incorrectly attributed this to Diavolo, who actually gave us the Star of Gratitude)

Still ???

Whether or not there is some kind of transfer of memories/experiences going on between the brothers' past selves and present selves due to our meddling in time. We've confirmed that past angel Beelzebub has turned into a glutton in between the time we last saw him and now, but we haven't confirmed if it *is* our meddling that has induced that. Currently, no change has manifested in the present brothers, nor has the timeline of events seemed to have significantly changed.

Whether or not present Lucifer becoming more "angelic" in season 2, in lieu of past angel Lucifer's growing doubt, will be a significant plot point. The parallels are getting stronger, though. (This is elaborated on further down)

It feels like 50/50? I’ll probably keep a list like this going for future analysis/prediction posts just so I can keep track of how right/mistaken I am throughout the playthrough. Might help me make less mistakes in my analysis!

As a general rule I try not to meander too far off into symbolism or out-of-game lore because what I write begins to sound like this:

And this is an otome game that is light on writing and plot. Nine times out of ten, it’s not going to be that deep. So I work with the details given and the plot points shown and try to draw connections within the framework of the story, in an attempt to try to deduce where the devs are taking the plot. Unfortunately for me, the devs like red herrings, and red herrings are designed to mislead you. With me, they are quite successful! I’d like to get better at spotting them.

The book was consequential -- it’s used to imprison Satan later -- but that’s the end of it’s meaning. Maybe the Bible verse had something to do with it, too -- those were some weird ass numbers to just throw in the title -- but maybe not. Either way, it doesn’t really matter. 

But enough of that, onwards! We have a lot of points to go over that may be interesting to note, right or not.

Satan the Memory Thief

Back in 50-B we learn that it was Michael who taught the brothers the stories behind the human world constellations. 

When we’re tossed back in time-dreamland (?) again, it is Satan who takes the opportunity to teach the brothers the human world constellations. The room had just been remodeled: Michael hasn’t had the opportunity to give them tours yet. Lucifer mosied into the room so he and the brothers can get the first glimpse.

Sooo if in a future lesson we ask them about where they learned the constellations in the present timeline and they say “oh a guy named Sully, who suspiciously looked just like Satan, taught us!” then we know our meddling is having significant consequences.

It IS worth noting that unlike the prior dream sequence, Satan and Simeon remember what they just went through. This particular time-dream could very well just be an illusion meant to give Satan/Simeon some kind of emotional resolution and nothing else. This is kind of why I hate that they’re bring time travel back into the story: it makes stuff like this confusing and borderline inconsistent. Some sequences may have effects and others may not. 

The chat between Lucifer and Simeon could also be consequential.

“Do you *really* mean that?”

There is a parallel at play here!

After you wake up after dozing off, you go off to find Lucifer and Simeon conversing in a forest clearing, evidently unaware that you’re eavesdropping on them. Simeon says although he knows it is just an illusion, that he was glad to see angel Lucy once more. Angel Lucy is predictably confused, and reassures Simeon that they’ll remain like this forever.

Simeon, of course, knows better. He tells Lucifer that he knows he’s been meeting with Diavolo and he’s having doubts about his place in the Celestial Realm -- and if things really will remain the same. Lucy is caught off guard, and starts to explain with some clear hesitation... and of course we pass out before we could hear his answer.

There’s creepy loud heartbeats when it fades out. Normally I associate them with tense, pivotal decisions -- but it could also just be related to us waking up and returning to reality.

If Simeon ends up being wrong -- and there will be real world consequences to this conversation -- they could be very significant consequences. We’re not sure if the conversation continues for a bit longer after we pass out, but Simeon already woke up before we come to.

Obviously the brothers still fell (they’re still demons in the present), but I wouldn’t underestimate the potential of a butterfly effect changing the circumstances of the Great Celestial War. I kind of hope they don’t do that, though, because they haven’t even begun to explain the present details of that event. We know only the broad strokes. Suddenly changing them to make the resolution between the demons and angels more smooth will feel really forced.

And that parallel I mentioned: Diavolo expresses similar worries and doubt in Lucifer’s conviction in season 2.

I have no doubt Lucifer actually means what he says to Diavolo, unlike his dialogue with Simeon, but Diavolo is aware of just how far Lucifer will go for the sake of his family -- and he’s probably #2 on the priority list, when push comes to shove. Lucifer forsaking the Celestial Realm for Lilith was the thing that brought him to Diavolo in the first place.

Of course, this lesson has Simeon suggesting that Diavolo’s influence on Lucifer was significant prior to all that unfolding, and it may have eventually happened regardless. It was only a matter of when, not how.

Still, Lucifer be writing checks he may not be able to cash. We also get this foreboding warning from Barbatos in Season 2:

As I’ve said before, the inevitable conflict the story was hinting to at this point doesn’t happen in Season 2. Lucifer isn’t forced to make a choice like this. The Night Dagger didn’t demand it.

I’ve also expressed my belief that Season 2 and Season 3 were likely written back-to-back due to the small window of time between their releases, so I believe details overlooked in Season 2 may suddenly become more relevant in Season 3.

It’s worth remembering Diavolo’s growing feelings for MC -- and Lucifer’s inner conflict about it -- were hinted at early in Season 2, as well. It doesn’t really get going until the conclusion of Season 2, leading into Season 3.

Do I have any clue of what this is actually leading up to? Not at all! If it mirrors Season 2′s format, though, it’ll suddenly come to a head in the last 3-5 lessons. I remember feeling equally clueless then, and Season 2 had a lot more foreshadowing...

... a lot of which actually didn’t pan out! But it might now. 

Guardian Angels

Another smaller, but interesting detail. Guardian Angels are indeed a thing.

I think they’re gonna become a thing soon. The devs very sneakily changed a small detail in Season 2, suggesting they might have realized that it may interfere with their plans for later seasons. 

Old version.

New version.

I’m thinking they may have decided giving Michael guardianship of an entire swath of the population was cheating, and they may be individualizing the role of Guardian Angels.

Which leads me to who I think Michael’s chosen human squeeze is:

My man has been scoping him out long before we came around.

It makes sense, too. We know Michael gave his Ring of Wisdom to Solomon, which seems to have kickstarted his career as a demon-pacting sorcerer (though he clearly was a sorcerer before this).

This is a very powerful item, described as the Ring of Light’s counterpart, that would be very useful for a high-ranking angel to possess. I don’t think Michael would fork it over to just anyone, particularly when we remember how he felt compelled to interrogate us via dream hi-jack before the Ring of Light fully came into our possession.

Solomon also makes Michael angst in a way a well-meaning but misbehaving child would make their parent angst:

Solomon also really doesn’t seem to regard Michael like some distant, all-powerful alien being who could smite him out of existence.

Contrast this with how he responds when he’s forced to hang out with Diavolo for a day (he gets more comfortable, but he initially wants to punt the responsibility back to Lucifer ASAP).

And he knows a surprising amount of small details about the guy:

I think Solomon is a significant part of Michael’s long-term plans, but he may not even be fully aware of how. Or he is, and they’re in some kind of mutually beneficial agreement -- possibly related to cross-realm peace -- that we simply haven’t been made aware of yet.

Personally, I think Simeon should be made MC’s ‘official’ Guardian Angel if they’re gonna be a thing with official mechanics behind them. I know Michael is supposed to be the Big Cheese and ridiculously hot, so it may make sense to have him linked to the MC of an otome game because they’re super special too, but Michael may already have Solomon. He shouldn’t get to hog everything. It’s not like assigning Simeon to do job would really inconvenience him, either: MC is Solomon’s apprentice. He can easily work with the arrangement.

Luke may feel left out but he’s a kid so...

Seven Brothers Constellation

We learn there’s a constellation representing the brothers in the Celestial Realm. Everyone there knows the legend, but Luke doesn’t know what the three stars ‘watching over them’ represent. 

He, Mammon, and Satan begin to theorize and Satan suggests they may represent the three realms. The other two like the idea, and Mammon insists the ‘human’ star represents MC. 

He’s probably right, but I’m willing to take it a step further: it represents MC, Diavolo, and Michael. The three “guardians” of their respective realms, and the brothers. Season 3 has been repeatedly beating us over the head with how much Michael still cares for the brothers and his relevance to their upbringing, and likely their future.

It bears repeating: Diavolo and Michael are aiming towards the same goal, though their visions of what peace and harmony looks like may be very different.

Solomon could also qualify as a self-appointed guardian, but I think he lacks the connection to the brothers MC obviously has.

Still, he has the same resolve, and he’s not leaving the story any time soon.

Predictions

I sniff out even the smallest Michael details because he’s clearly the key to whatever is gonna blow up.

This might give us some insight on how the initial dealings with him may unfold:

It’s hard to deduce just what this actually means. Either Michael tends to overthink things that just aren’t that deep (can empathize) and that in itself leads to needless complications, or he’s apt to misread situations and as a result gives poor advice. Or a combination of both.

My initial read on him makes me think that he thinks the best of humans/angels but the worst of demons. He is very, very complimentary towards MC as soon as they start answering his questions.

Am I now? Really?

It could just be the game making characters butter up the MC to make the game more enjoyable for the player of a self-insert character, but dude we just met.

When you tell him you did what you did out of love for Lucifer:

That’s a very telling pause/ellipsis. It’s like his brain momentarily short-circuits and he needs to regain his composure before he continues, and he still doesn’t sound entirely sure of what you just said lol

He also just outright admits he initially thought you must be wicked just because the brothers liked you, and this is a guy who is still fond of them himself. I think he’s having a very hard time with it.

So the inevitable bumps in the roads ahead with him will likely be a result of this, and/or his dad being an asshole. Neither he or Diavolo are actually in charge of the realms they’re overseeing -- they’re both de facto leaders -- so maybe the parents will suddenly barge in and try to knock over their sand castles for whatever reason. It is kind of weird that the exchange program has been agreed to in the first place, particularly on the Celestial Realm’s part.

Regardless, I have no clue what the next arc will be. I know we still have three trials left, but they could combine two again to leave more room for the actual storyline to progress. The climax is going to be the last trial of our sorcerer’s exam, or something happening afterwards. Not sure which one I’m willing to bet on yet: I remember Simeon’s play and the silly Blood Moon contest in Season 2 were what kept use preoccupied for Season 2 until SUDDENLY LUCIFER GETS AMNESIA AND THE WORLD IS IN DANGER AND WE HAVE TO STAB HIM TO SAVE EVERYONE. But they did heavily foreshadow that in the very beginning lol. They just didn’t fill in the blanks until much later.

I wonder what the trial of chastity is gonna be like and how hard we’ll actually fail and the game will need to overcompensate for that

Dragon Age Library Edition Volume 1 annotations & additional pages/art compilation

Dragon Age Library Edition Volume 1 is a hardcover collection of some pre-existing Dragon Age comics that was released in 2014. It comprises of all issues of The Silent Grove, Those Who Speak and Until We Sleep. In places, it includes additional annotations/commentaries by the illustrators and authors, as well as a few additional pages with additional art. iirc these additional annotations and pages/art aren’t featured or available anywhere else (in the franchise I mean; other people have probably put them online at some point I’m sure).

From what I can see at least, Library Edition Volume 1 is no longer in print, and as such listings for it on resale sites etc are.. price-inflated & prohibitively expensive (~£100+, which I’m sure we can all agree is just not reasonable or accessible to most people). Due to this, I’ve compiled the additional annotations and pages here in this post. Thank you and credit to @artevalentinapaz, who kindly shared the material with me. This post has been made with their permission. The rest of this post is under a cut due to length.

These commentaries are in the context of The Silent Grove, Those Who Speak and Until We Sleep. If you notice any errors or annotations missing, or need anything clarified, just let me know. I think the annotations are in chronological order. In places I elaborated in square brackets to help explain which part of the comics an annotation is referring to. A note before you proceed further: some of the topics referenced in the annotations/additional pages are heavy or uncomfortable. The quotes here are word-for-word transcriptions of dev/creator commentaries, not my personal opinions or phrasings.

(Also, I do recommend always supporting comic creators by purchasing their comics legitimately. I own each issue of these comics having bought other editions of them all legitimately. The reason I put this post together is because this specific Library Edition volume has been discontinued and the consequently-inflated cost is so high, rendering the additional material inaccessible to most.)

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The Silent Grove annotations

Illustrator Chad Hardin: “I used to be an environmental artist for video games, so I built a 3-D model of Antiva City using the program Silo. Many of the buildings are simple cubes, but a few are more detailed. Overall, I spent the better part of a day building it, but I used it again and again throughout The Silent Grove to maintain continuity in the backgrounds.”

Script Writer Alexander Freed: “Even working with David Gaider, it took me several drafts to find Alistair’s voice. His narrative had to convey his humor and self-doubt from Dragon Age: Origins while suggesting a newfound weariness earned during his years on the throne. For readers familiar with the character, he needed to seem like a changed Alistair - but Alistair nonetheless.”

Chad Hardin: “If you read a lot of comics, you might wonder why the majority of the heroes wear skin-tight suits. Well, I can tell you: they are easy and quick to draw. In video games, you build the model once and then animate it, so details don’t slow you down. In comics, everything has to be rendered by hand. Varric and Alistair’s outfits were quite detailed. It took me a long time to get used to them, and even longer to memorize the designs until drawing them was second nature - Varric’s knee armor in particular! Oy vey!”

David Gaider: “One of my favorite scenes in the entire series [when Varric and Isabela are disarming traps and picking locks together while Alistair looks on]. Isabela and Varric, doing what rogues do. I had a suggestion for how to put it together, but Alex managed to make it fit and did a great job with it.”

Chad Hardin: “I never used to keep any of the artwork I created for comics. I would just hand the pages over to my agent to sell. This page [when Alistair, Varric and Isabela are in a tavern together, with hookah in the foreground] I kept for myself. I love the hookah-smoking elves in the second panel and Isabela’s face in the last panel. I rendered the first four chapters of The Silent Grove in grayscale using ink washes, gouache and Copie markers.”

David Gaider: “For a little while, Varric [in these comic stories] was supposed to be Zevran from Dragon Age: Origins, which would have made sense, Zevran being Antivan and all. I know that some fans would have loved to see him, but the dynamics of the group just didn’t work as well. Then a planned cameo later had to be cut for space. Ah well, Zev, another time.”

Alexander Freed: “Isabela at her most dangerous [climbing up the side of the cliff]. This scene - featuring a scantily clad, dripping-wet woman who tends to flaunt her sexuality - could easily have come across as exploitative, but Chad did a lovely drop portraying Isabela as purely focused and deadly.”

Chad Hardin: “Isabela rising out of the water and scaling the cliff with the knife in her mouth is one of my favorite parts of The Silent Grove. It is one of those moments where the writing really inspired the art. Hats off to Alex and David. This is another page I kept for myself.”

Colorist Michael Atiyeh: “This is one of my favorite Dragon Age pages. Chad is such an amazing artist; I feel very fortunate to have had the opportunity to work with him.”

Chad Hardin: “I love that this page [when a guard spots Varric and shouts ‘Intruder!’] made it in uncensored. So many times in comics, I draw something and some stuffy lawyers come out of the woodwork and tell me to tone it down. Dark Horse and BioWare always let me have fun, and this turned out to be one of my favorite pages with Varric and Bianca. Any guesses to which word he is mouthing in the second panel?”

Alexander Freed: “Note the simple decency of Alistair as he gives his cloak, without comment, to Isabela. For all his flaws, he’s genuinely kind at heart - a rare enough trait in Isabela’s world that I think it’s much of what she values in him.”

Chad Hardin: “I love the opening panel to this chapter [the opening panels to Chapter 3, when the team are on a ship at sea]. It’s the image I use on the homepage of my website. This page was a gift to my cousin Wendy, who loves pirates. Seascapes with sailing ships might be clichéd in fine art, but for me it was a first.”

David Gaider: “I wanted to have this story center on the group travelling to a Witch of the Wilds other than Flemeth, and originally I had set it somewhere else - until I remembered a Codex entry from Dragon: Age Origins that offhandedly mentioned a witch in the Tellari Swamps. Brilliant! It’d look like I planned it all along. I didn’t.”

Michael Atiyeh: “I love opportunities where I can show a change in the time of day as you move from panel to panel [when the ship heads towards and the team arrive in the Tellari Swamps]. I feel the palette of each panel is very distinct and beautiful.”

Alexander Freed: “Why did Alistair choose two people he barely knows to be his companions on this quest? We never make this explicit, but of course Varric is on the right track. Alistair wants to surround himself with people who don’t know him and won’t judge him, yet it’s Alistair’s idealism that Isabela and Varric work to preserve.”

Chad Hardin: “Another page where the writing inspired the art [when the group suddenly encounter a dragon]. I love the dragon bursting onto the scene and Isabela’s stare. Some writers will try to cram six or seven panels on a page like this and the pacing just doesn’t allow the artist to give each moment the right punch. Can you imagine if the first panel was crammed into a single square inch?”

Chad Hardin: “Yavana was one of the only characters that we did no preliminary sketches for. I don’t know how that happened, but thankfully it worked out.”

David Gaider: “I love how Yavana looks like a cross between Flemeth and Morrigan. Flemmigan? She’s totally Chad’s design, and it’s great. Typical for these witches, she never says things straight. In my mind, this Alistair is the one who did the Dark Ritual in Dragon Age: Origins - and I was half-tempted to have him lose his cool in this first scene [opening panels of Chapter 4] with her. Too early, though.”

Alexander Freed: “Through this whole sequence [the page when Varric aims Bianca at Yavana], Yavana is dropping cryptic hints and Alistair is refusing to play along. He’s met Flemeth and Morrigan - he knows Yavana won’t give him a straight answer, and he won’t give her the satisfaction of asking needlessly.”

Michael Atiyeh: “Sometimes it’s the little things on a page that spark my interest. Here [when the team navigate vines and mud to get to the temple], the sunset panel came out great and the mud looks really thick and gooey. It’s fun to focus on these details and make them stand out.”

Chad Hardin: “I hated drawing this scene [when Isabela gets kicked] where Isabela gets the boot to the face. Call me old fashioned, but I was raised to believe that only a coward would ever hit a woman (even a battle-hardened pirate adventurer). I draw at home, and my girls often watch me work in my studio. This was a page I didn’t want them watching me draw. I do like, though, that Isabela gets up, yanks the arrow out, and then soldiers on (and later extracts brutal revenge).”

Michael Atiyeh: “Poor Isabela. It seems I gave her more bruises and black eyes than any of the other characters. [when Isabela is yanking the arrow out]”

Chad Hardin: “It’s always interesting to go back and look at artwork because it reminds me of what was going on in my life at the time. I inked this page [opening panels of Chapter 5] at a ‘draw night’ session at an anime convention in St. George, Utah. I was one of the special guests, but I missed the first day because I was at my grandfather’s funeral in Las Vegas, Nevada. Seeing this page brought back those memories.”

David Gaider: “‘Bianca says hello.’ [quoting the panels being referenced] I adore Varric. I was tempted to have him narrate the entire series [in reference to these three comics], but then again I liked the idea of having each series center on one of the trio’s viewpoints. This book belongs to Alistair, but that doesn’t stop Varric from getting all the best lines.”

Alexander Freed: “Claudio, of course, is not a terribly sympathetic figure. But I wanted to emphasize that he takes this fight as personally as Isabela - he sincerely loved Luis and blames Isabela for the man’s death. I think it’s important to give every character, even the most loathsome, some dignity. [when Isabela and Claudio are fighting]”

Chad Hardin: “Payback! Here is where Isabela extracts her revenge on Claudio [when Isabela stabs Claudio]. I never enjoyed killing off a character so much. I particularly enjoyed putting the look of shock in his eyes. He had it coming. There is something satisfying about killing a ‘made man’.”

Chad Hardin: “Every now and then when drawing comics, I wish I could animate some panels and watch them as a cartoon. It would be great to see this sequence [when Yavana catches Claudio’s soul] in full motion as Yavana snatches Claudio’s soul, makes it reenter his corpse and then extracts information from him until he bursts into flame. It was a very Hellboy-ish moment. I enjoyed the movie that played in my mind while drawing this scene. Hope everyone liked the result.”

Chad Hardin: “As I mentioned on page 17, I rendered the first four chapters in grayscale, which made the black-and-white art look great, but had a neutralizing effect when it came to colors. By the time I drew chapter 4, I had seen the effect it was having and decided to stop using the grayscale so the colors would pop. When I saw this page [when Alistair says to Yavana ‘And we helped you find it’] in print, it confirmed to me that I made the right decision. I honestly feel this art was the best of The Silent Grove.”

Chad Hardin: “I practically painted these pages [when Yavana says ‘It is permitted. Tonight and only tonight’] in thumbnails hoping it would help me choose how to render them in ink. It is so hard trying to figure out how to get a full range of value out of just black and white. There are some artists and inkers that make this look easy. Mark Schultz comes to mind. Michael saved my bacon. Colorists really do so much work when it comes to rendering; this page came out awesome because of him.”

David Gaider: “Here we reveal the existence of Great Dragons (as opposed to High Dragons), and also that Yavana was the source of the return of dragons to Thedas after their departure for so many centuries. But why? There’s the rub, and not even Alistair can trust that she’s telling him the truth.”

David Gaider: “Here’s the controversial scene [Alistair killing Yavana]. I think some fans don’t like that Alistair did this, and have said they consider it out of character. I don’t. From his perspective, Flemeth and her daughters have been toying with the world for reasons that can’t be trusted. They dragged Maric away from his family, from him. One might think his judgement foolish, but considering what Alistair was capable of deciding even back in Dragon Age: Origins, it’s certainly not out of character.”

Chad Hardin: “[same scene as above] This was a controversial page, and there were a lot of people who thought it was out of character for Alistair to kill Yavana (I didn’t see it coming - I mean, you just don’t kill a Witch of the Wild), but here is the thing: this page is Alistair acting as a king. Yavana has been manipulating him, trying to play him like a pawn, and he just can’t allow that. There’s too much at stake, for himself and for his subjects.”

Alexander Freed: “The end? An end, at least [the trio walking off into the distance]. The series needed a note of closure while leading into Those Who Speak (which wouldn’t arrive until many months later). David tweaked the ending in the outline several times, and I did my best to balance resolving Alistair’s emotional journey without resolving the quest. It’s not as clean as I’d have liked, but fortunately, now it’s all in one volume...”

Those Who Speak annotations

Alexander Freed: “Capturing Isabela’s narrative voice was much easier for me than capturing Alistair’s - partly because I’d already written The Silent Grove, and partly because of my own writing proclivities. Rereading now, I wonder if I laid on the (mild) profanity a bit too thick. I’ll leave you to judge.”

David Gaider: “I like the additional detail Alex and Chad put in, letting us see more of Qarinus and more of Isabela’s crew. Alex wanted to give her crew more of a presence, and let her first mate have some face time, so they weren’t just parts of the scenery. Good call on his part.”

David Gaider: “I’m really fond of the formal getups Chad made for the party. Isabela’s actually comes from a concept we didn’t use from the cancelled Dragon Age 2 expansion, if I remember right. And Maevaris came from me asking for ‘someone who looks like Mae West’ - with the wonderful outfit all Chad’s doing.

Chad Hardin: “Maevaris. I love Mae. When David and Dragon Age art director Matthew Goldman spoke to me about designing Mae, they wanted her to be fully female with the exception of her biology. They told me to think ‘Mae West’. Well, when I think of Mae West, I think of her... womanly shape. So, drawing Maevaris was always walking a fine line between portraying Mae’s identity and her biology. The process endeared her to me.”

Michael Atiyeh: “Just like in The Silent Grove, we are introduced to another gentleman from Isabela’s past [when the team meet Lord Devon and Isabela threatens him]. As was the case with Claudio, he will meet his fate at her hands.”

Chad Hardin: “When I was drawing Titus, my kids asked me why I was drawing ‘angry Jesus’ or ‘evil Jesus’. I can’t remember which term they used exactly, but it made me chuckle. I was going for a mix of Rapustin and Joe Stalin, but ‘evil Jesus’ would do.”

David Gaider: “I’m not sure it’s apparent here [when Alistair says ‘I’d really rather not’], but Alistair was supposed to be using one of his Templar powers on Titus (that’s why Titus recognizes what he is on the next page) and disrupting his magic.”

Alexander Freed: “Isabela is witty and charming enough that it can be easy to forget that she’s not, in fact, a nice person. Even after finishing the outline, David was concerned about making her too unsympathetic - but I loved his approach in this series. The dark deeds Isabela commits - this murder included [Isabela killing Lord Devon] - are what make her guilt tangible and no easy matter to overcome.”

Alexander Freed: “I thought the notions of Isabela’s pride in her captaincy and dedication to her crew were some of the most interesting aspects of her character in David’s story. In scenes here [when Isabela is on her ship saying ‘Keep them focused and keep them sober’] and elsewhere, I did my best to emphasize their place at the core of Isabela’s world.”

Chad Hardin: “Most of the time I draw from imagination, but because of the complexity of this page [Qunari trying to board Isabela’s ship] I decided it would work better if I had photo reference. On this page are my nephews Jared (Varric) and Adam, my niece Melissa, my kids Erica, Tasey Michaela (Isabela) and Chad (Alistair), my friend’s daughter Amy, my wife Joy, and the neighborhood kids as Isabela’s pirate crew. (The crew member mooning the Qunari is out of my ol’ noodle.) I paid their modelling fee in pizza and root beer. Also, I had originally drawn cannons on Isabela’s ship, so if there are parts of it that look slightly wonky, chances are there was a cannon there.”

David Gaider: “Ever since the BioWare artists finally did a concept for female Qunari, I’ve been itching to include one in the game. It’s always slipped through my fingers, so I was going to be damned if I’d have a Qunari plot in a comic - without the same technical limitations - and not have one present.

Chad Hardin: “I had no idea this was the first time anyone outside of BioWare had seen a female Qunari.”

Michael Atiyeh: “I really like the lighting in this sequence [Isabela in her cell thinking ‘I haven’t eaten in days’], especially the strong white light and the characters in shadow.”

David Gaider: “The entire sequence of Rasaan interrogating Isabela was something I plotted out in detail when this series began. Here they discuss names - something treated in a manner peculiar to the Qunari, considering how much importance they apply to what things are called (and not called), because it forms the core of their identity. Isabela brushes it off, but as we find out later it’s also at the core of her identity. I liked that parallel.”

Alexander Freed: “To balance out the relatively static talking pages elsewhere in the issue, I hoped to make the interrogation and flashback sequences beautiful and full of information. I proposed an approach to Chad, and he wisely reshaped it into what you see here [the page with the scene where Isabela says ‘I’ve made a lot of stupid mistakes’]. Anything that succeeds on these pages should be credited to him; anything that fails is my fault.”

Chad Hardin: “Probably the most challenging spread I have ever done. My friend Stacie Pitt was the model for Isabela on this page, and my wife Joy was Rasaan. I saved these pages [around the scene when Rasaan says ‘Mistakes can be corrected’] for myself.”

David Gaider: “Sten from Dragon Age: Origins becoming the new Arishok of the Qunari was something we'd planned even during Dragon Age 2. This was a great opportunity to show that, and also to show that Sten didn’t acquire horns even despite the makeover the Qunari received in DA2. Hornless Qunari are considered special, and Sten is no exception.”

Michael Atiyeh: “I think that David, Alex and Chad handled Isabela’s flashback [to when she was sold by her mother] in an interesting way, and it created a nice flow to the story.”

David Gaider: “This was a controversial scene [what happened to the slaves Isabela was transporting], the end result of a lot of discussions between me and Isabela’s original writer on the team, and it went through a lot of revisions over that time. It needed to fit with the story Isabela told the player in DA2, but fill in the blanks of what she didn’t tell. We didn’t want Isabela to be someone who became who she is because she was ‘broken’ but instead as a result of her own actions - yet also not be completely beyond redemption.”

Chad Hardin: “These were hard pages [as above] to draw. It was difficult knowing that events such as this are part of human history, such as the Zong massacre in 1781, where the British courts ordered the insurers to reimburse the crew of the Zong for financial losses caused by throwing slaves overboard when faced with a lack of water. Horrifying beyond words.”

Michael Atiyeh: “Here, Isabela visits here crew, and I wanted to play up that she was in the light and they were in a dark cell. The light streaming through the bars gave me the opportunity to highlight Brand, who also had dialogue in the scene.”

Alexander Freed: “I struggled to find a way for Varric to contribute to victory without distracting from Alistair and Sten’s big fight. I’m happy with the solution: a brazen lie seemed appropriate to the character without taking away from the main show.”

David Gaider: “I believe my original plan had Isabela’s and Alistair’s fight scenes happening separately, but I like how Alex intertwined them in the script and I especially like how this ends up highlighting the differences between their characters when their fights are resolved. Isabela is defiant, revealing her name not because Rasaan demands it but because it’s her choice. In both cases, mercy is strength.”

Michael Atiyeh: “The brush I created for the clouds really gave them a nice watercolor effect here [on the deck of the ship, Sten calling Alistair ‘kadan’]. That brush has become a staple in my toolbox.”

Alexander Freed: “With the strong theme of names running through these issues, I liked the notion that Isabela had outgrown being, well, ‘Isabela’. When her name comes up in Until We Sleep, it’s largely played with ambiguity.”

Until We Sleep annotations

Alexander Freed: “The story of ‘Arthur’ is one of my favorite minor sequences [Varric infiltrating and fighting his way into the fortress]. It tells us something about Varric and it delivers plot information - and it’s also a reminder that our heroes kill an awful lot of people during these series and cope with it in their own ways. In general, writing Varric let me skirt the edge of metacommentary, which I greatly enjoyed.”

David Gaider: “Varric, as always, is my ‘voice of the narrator’. Here he’s expressing some of my own amusement at Alistair’s growing list of peculiarities [‘Your majesty is quite the special snowflake’]. To think, back at the beginning of Dragon Age: Origins he was just the player’s goofy sidekick who grew up in a barn.”

Michael Atiyeh: “By the third series, Until We Sleep, I really started to have a complete feel for what I wanted the final art to look like. As an artist, it’s important to continue to evolve and grow. The close-up of Sten’s face [same page as above] is a perfect example of how I wanted the rendering on the characters to look.”

Alexander Freed: “David’s outline called for a short, somber reveal of the Calenhad story by Sten. Fueled by my desire to avoid ‘talking heads’ sequences, I scripted it as a full-on storytelling flashback. David made sure the history worked (at least from the Qunari point of view), and Chad did a beautiful job handling it in a mere two pages.”

David Gaider: “Blood is important in Dragon Age, as a theme. Here we tie in the dragon blood that was mentioned all the way back in The Silent Grove and explain what it means at last. I was a bit hesitant to tarnish the legend of Calenhad the Great in this way, but I comfort myself with the knowledge this tale is but a viewpoint and not necessarily the entire truth.”

Michael Atiyeh: “Titus melting the attacker is a great example of classic comicbook storytelling and exactly what made me fall in love with the medium.”

David Gaider: “I was really happy with how Chad handled the reveal of Mae as transgender [the scene with Mae in the cell]. My worry was that Varric finding her disrobed might be potentially titillating, but I think he handled it nicely. I only wish there was more time to have Mae properly respond to being exposed in this manner, even to a friend.”

Chad Hardin: “I originally drew Mae as female [same scene as above], then changed her anatomy, so the psychological violation and humiliation she felt would be the focus. Hope that came across.”

Chad Hardin: “When in doubt, have Bianca shoot it [Varric shooting the artifact].”

David Gaider: “This scene [Varric and Bianca the dwarf] with Varric was one I wanted to do for a very long time. We’ve hinted that Varric’s crossbow was named after a real person, someone he never wants to talk about. Now I finally had the chance to show why.”

Chad Hardin: “Of all my Dragon Age pages, this scene was hands down my favorite, because Varric is my favorite. It was awesome to get to draw Bianca in her dwarven form. These scenes give you a glimpse of the love Varric and Bianca shared. It doesn’t tell you the whole story, but you can assume plenty from what is shown. You get to see Varric mostly naked (you’re welcome), but most of all you witness Varric’s heartbreak. I felt privileged to draw it. I got so obsessed with drawing this page I did an entire watercolor painting based on the last panel [Varric gets up to leave, ‘This isn’t right’ - ? or perhaps the scene where he opens the door to leave].”

Alexander Freed: “Unreliable narrators are always tricky - done wrong, they can just confuse the reader. But I’m fairly happy with Varric’s lies throughout this series, most of which are used to downplay the emotional cost of events rather than whitewash the events themselves.”

Michael Atiyeh: “This palette worked perfectly [Varric standing in front of the doorway/portal in the Fade proper], but I can’t take all the credit because BioWare provided reference for the Fade. I added the hot orange energy for the doorway, which looks great with the sickly green sky.”

David Gaider: “This scene [Isabela’s Fade nightmare] was actually inspired by a fan named Allegra who did a cosplay as a Qunari version of Isabela. I knew I wanted something like this for Isabela’s Fade section of the comic, but it didn’t really solidify until I saw the cosplay.”

Chad Hardin: “Isabela is more affected by her encounter with Rasaan than we were led to believe. A portent of things to come?”

Michael Atiyeh: “I love this shot of Mae in the fourth panel [on the page where Isabela is affected by vines]. I would be remiss if I didn’t mention what a great character she is in the series, and Chad captures her beautifully in this shot.”

Alexander Freed: “I saw this issue as a sort of downbeat victory lap. Over the course of the previous series, our protagonists largely came to terms with the inner demons the Fade confronts them with here. The fact they’ve come so far lets them win this last battle... but they still have scars that will never completely disappear.”

David Gaider: “Maric was in the first two novels I wrote for Dragon Age. Seeing Chad’s rendering of him as a regal, grown-up version of Alistair made me incredibly nostalgic. Some characters you just never let go of.”

Alexander Freed: “I feel Varric’s lines (‘tell yourself the stories you need to tell’ but ‘never live your own lies’) are the natural endpoint of all the exchanges he’s had with Alistair, starting from the end of Chapter 1 of The Silent Grove. And of course it plays off the story of ‘Arthur’, as well.’’

Chad Hardin: “I’m happy with the way Titus came off in these pages [Titus attacking and saying ‘The last magisters of Tevinter were so close’]. He looks threatening and powerful when fighting Alistair, Isabela and Varric, but genuinely confused by his inability to defeat Maric. Bye-bye, evil Jesus.”

Alexander Freed: “I can’t help but feel for Titus. He was unthinkably corrupt, but I see him as genuinely motivated by Tevinter’s glory. (The fact Alistair reads zealous ideology as a lust for power says a lot about both characters.)”

Michael Atiyeh: “I love the seamless transition of color from Titus’ magic to the dragon breath and then back into the orange remnants of his magic in the smoke. This was a really fun panel to color [Titus saying ‘Die by what wrought you’].”

David Gaider: “‘You are not the dreamer here. I am.’ I always have a scene or a line that’s in my head when I begin a tale, and this line of Maric’s was one I wanted all the way back when I started working on The Silent Grove.”

Chad Hardin: “I love this page [Maric and Alistair clasping hands]; Mike’s colors are spot on. We get to see all our heroes in an ideal state for the last time. This is the last Dragon Age page I saved for myself.”

David Gaider: “This scene kills me [Alistair destroying the Magrallen]. I knew it needed to happen; I knew I wanted it to happen even back when I began the story. Alistair lets Maric remain in the Fade rather than dragging him back to a world which has moved on. Alistair’s ready to move on, but forcing him to give up that hope... it makes me feel like a bad person.”

Chad Hardin: “Heartbreak for Alistair as he realizes that once again, as a king, he must kill: this time, his own father (granted, the Magrallen did most of the work). I really like how Maric crumbles away in the end. This was my last page, and the emotions on the page and in my studio were very final. Altogether, this was a year of my life in the making. On my last page, I wrote a thank you to everyone involved, the crew at Dark Horse and the crew at BioWare. I’d like to take this opportunity to thank them again. It was a thrill. Finally, a huge thank-you to the Dragon Age fan community, whose support was overwhelmingly awesome.”

Michael Atiyeh: “As the story came to an end, I knew I was going to miss these characters. Writing these annotations reinforces the fact that I hope to work with this great creative team again one day. Many thanks to Dark Horse and BioWare for the opportunity to work on Dragon Age.”

Alexander Freed: “The tension between the art and the narration on this page [the one with Alistair sitting on his throne while nobles argue] is something you can only pull off in comics. Neither tells the full, bittersweet story alone. Similarly, these issues wouldn’t have been possible without everyone on the team; thanks to David, Chad, Michael, and everyone I lack space to list!”

Additional pages / art

Library Edition Volume 1 also came with some additional pages, with additional art and commentary. These are as follows (I’m including them for the sake of completion, click the links to see):

1. Alistair and dragon concepts

2. Rasaan and Maevaris concepts

3. Sten, Titus and Yavana concepts

4. A series of cover pages 1

5. A series of cover pages 2

In case anyone has trouble reading the notes that accompany these images, I’ve transcribed them below:

1. Dragon Age Sketch Book

Alistair Concept 

Dragon Age / Dark Horse

Chad Hardin: “The headshot of Alistair is from a finished sketch with a rejected armor design. In order to save time, the redrawing was completed on the computer, where tweaks and changes are quick and easy, if somewhat less glorious.”

[Dragon] Head #1 / Head #2

Chad Hardin: “Everyone liked this dragon sketch so much that Dark Horse printed it for signings at conventions. You can see I did multiple proposals for the dragon’s head. It was more effective than drawing the body over and over.”

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2. [arrow pointing to Mae’s sleeve] concealed [I think that’s what it says anyway] daggers / shurikens?

Chad Hardin: “When designing Rasaan and Maevaris, I wasn’t exactly sure how their roles would play out in the series. Maevaris’ outfit was inspired by brothel madams of the Wild West. I thought it would be cool to have some weapons concealed in the formal wear. These never came into play in the series, but they were there in my mind.”

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3. Chad Hardin: “Although we only see Titus in his battle garb in one issue, I really liked the design of his armor. The sketch of Yavana was done on the fly and served as both a rough preliminary sketch and as a panel layout. You have to work hard and smart in comics to keep up with the deadlines.”

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4. Cover Artist Anthony Palumbo: “This was my first assignment for Dark Horse, and I was both excited and nervous. I drew pencil sketches of the main characters, scanned them and played with different arrangements, poses and color schemes in Photoshop.”

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5. Anthony Palumbo: “Fellow illustrator Winona Nelson helped me by sitting for photo reference. I created the mock-jewelry with gold-painted Sculpey. That’s a quick photo of my own gaping maw, to help with the image of Varric.”

Suns Out | Shigabaku | T 

Chapter 2 of Tuesday Rates! The obligatory Beach Episode ft. Bad Lifeguards and Bad Drown Victim etiquette. Read it Here or under readmore

Tomura really didn’t want to be here.

“Don’t be a party pooper,” Toga says, rubbing sunscreen along her upper arm. “It’ll be fun.”

Dabi agrees between inflating puffs of the large beach ball. “What kind of friends-” puff “-would we be-” puff “-if we just let you rot-” puff, Tomura’s eyebrow twitches “-in your room again all summer?” Happy with the size, Dabi caps the beach ball. 

“You guys aren’t my—hey!” Dabi snickers, catching the ball after bouncing it off Tomura’s head.

“Sure man, whatever you say.”

They are at the beach and Tomura really really doesn’t want to be here. Or outside, in general. Especially not with people. Oh how he ached to be back in his air conditioned room with his blacked out curtains and computer. No, instead here he is with sweat prickling and sand sticking to his skin, sitting on a hot beach towel under this oppressing sun. Tomura glares at the wide-brimmed sun hat at his feet that Toga had given him like it personally dishonored him. Those heathens didn’t even let him have his console either.

A sunscreen bottle is tossed to him which he responds with tossing it right back harder. 

Toga catches it and shrugs, bagging the bottle in Dabi’s tote. “It’s not our fault if you get burnt!”

“Hm!”

At least they had a beach umbrella. Tomura plans on not moving from this spot.

.

Huh. It’s hard to think but there’s someone...talking? He can’t hear what they’re saying, sounding too distant and muffled to make out the words from the garble. The voice begins getting desperate, pitch heightening as it continues babbling. Tomura feels really tired. Maybe he’ll try to understand later...when the pull of his lids don’t feel so heavy—

“—LIVE GODDAMN IT!”

Tomura shoots up because what the fuck, was he just slapped?! His cheeks are stinging, he's doubling over, mouth full of salt water and seaweed. Through his hacking, he vaguely hears a Kacchan… from a very dismayed voice, followed by a hysterical laugh from whoever this Kacchan is. 

“There’s no such thing as going overboard, Deku, he’s alive, ain’t he?”

“Yeah, but—”

“But, what? I just saved his life, I’m a goddamn hero.” What the fuck. Tomura wipes his mouth. The two look at him. The blonde, Kacchan, is the one to say, “I’m your goddamn hero.”

The green haired, Deku, one jabs Kacchan in the ribs. “Please ignore him! How are you feeling? Any chest pains, tingly sensations?” He doesn’t wait for Tomura to respond, instead turning to Kacchan to say, “Go get him a towel! He must be freezing.”

Kacchan huffs and stands, leaving to presumably get a towel (Tomura could hear mild curses from under his breath as he stalks away) while Deku turns back to him. “Don’t mind him, he’s just a bit crabby, is all. He means well. I’m Midoriya and that was Bakugou, by the way, we’re the lifeguards on duty,” he says with a mild laugh. “You almost drowned on us!”

Midoriya had an arm around him, Tomura belately realizes as he rambles on some more, probably to keep him sitting steady. When he tries to lean away, Midoriya removes his arm, apologizing, “Sorry, sorry, shock can be unpredictable. Are you feeling any better?”

Now that he mentions it, Tomura thinks, wetting his lips, his throat feels like absolute sandpaper and he still feels somewhat faint. Not that he would admit it, but it's the thought that counts. Plus, even if he wanted to respond Well, yeah, I feel like shit, a towel is thrown over his head. “Oi, he probably drank half the ocean. Let the guy rest,” says Bakugou. Tomura snorts quietly, pulling the towel around his shoulders. “I couldn’t find any extra towels so I gave you mine, you better give it back.”

“I nearly drowned,” Tomura replies, voice croaky and just barely audible, as he takes the water bottle Bakugou offers him. He twists it open, dripping as much sarcasm as he can into his words, “and you care about this? Some lifeguard you are.”  He takes a sip from the bottle. God does his throat hurt.

The way Bakugou’s face scrunches in irritation almost made Tomura laugh but instead, he hides his smile behind another sip. “Listen asshole, I can put you back in the ocean and laugh as your pasty ass tries to save itself. You should be fucking thankful.” 

Before Tomura would retort, a couple voices call out for him. Dabi and Toga. They must’ve been playing one rigorous game of volleyball because they’re covered in sand and sweat.

“We were wondering where you went,” Toga says, putting the volleyball under her arm. “We thought you ran away!” 

Tomura scoffs but Toga quickly ignores him, opting to look at the other two with him, particularly at Midoriya. She steps over Tomura’s legs, looking gleeful, to get closer. “Oh, hello! Are you guys lifeguards? What happens to our poor little Tomura-chan?”

“Toga,” the ‘poor little’ Tomura warns. Dabi laughs and helps him to his feet.

Toga continues to ignore him. Midoriya gives a nervous smile as he makes a pointed effort to look at anywhere but at Toga as she skitters closer and closer. “Uh, we-er, he saw your friend struggling to swim and pulled him to shore.” At the he, Midoriya had made a half effort wave to Bakugou’s general direction, who huffs, not paying them a dime of attention. “If it weren’t for Kacchan, he could’ve been a goner!” 

Toga nods, not listening one bit. It’s Dabi who snorts at the story and upends Tomura’s head. “Nice going, idiot. Have you thanked him yet?”

Tomura scowls and huffs. While that he was a little thankful, he wouldn’t admit it to that asshole of all people. Dabi seems to get that and instead chooses to ruffle his hair with a chuckle. 

Bakugou announces his leave with annoyance.

“I should get going too,” Midoriya said not far after, probably thankful for this out from Toga’s insistent chatter, as he follows after his partner in ocean surveillance. 

Dabi throws his arms over Tomura’s and Toga’s shoulders, saying as simple as possible, as Tomura watches them go, “Welp, at least you didn’t scare them away.”

Tomura eyes the arm around him. “I hate you both.”

Dabi laughs as Toga sighs. “Don’t worry, you’ll see your new boytoy again.” Tomura wasn’t sure who he was referring to, Toga who was looking dreamily after Midoriya or to him. 

Actually, he doesn’t want to know.

After that, Tomura sticks to their designated area for the rest of the day. Lucky for him, Dabi was lenient enough to give him back his PS Vita console because the almost drowning victim deserved at least some slack. The towel was over his head now, covering himself from the setting sun that refused to shine over the beach umbrella (and he wouldn’t be caught dead with that sun hat). He’s tapping the keys harshly, the fighting sounds rolled on the highest setting, and he’s so incredibly close to winning, and—

“Oi.”

His thumb slips on the toggle stick, breaking his ultimate combo, and watches in disbelief as Game Over title sequences flash across his screen. He stares at the syncopated message until the device just falls out of his hands as the little loser jingle rings out on loop. He puts his face in them instead.

“Uh...hey dude.” Oh yes, the reason for his failure. The words chip out from Tomura’s mouth, each stop full of as much barely controlled anger as he can possibly fit.

“What. Do. You. Want.”

Whoever it was standing behind him shifts on their feet, the sand softly crunching beneath. At some point, his console powered itself off and it’s then the person finally states, voice awfully familiar, “I said I wanted my towel back.”

Oh, it’s him. The crappy lifeguard. “Just take it,” Tomura laments into his hands. The towel resting over his head and back is swiped, but instead of the sun heat hitting his pale back, Bakugou’s shadow saves him. “While you’re at it, throw me back into the ocean too. I can’t handle this loss..." 

Bakugou snorts. “Jesus, dude, it’s just a game. Just do it again.” 

“It’s not just a game,” he quickly retorts, raising his face from his hands to shoot a glare over his shoulder. Bakugou has a hand on his hip, towel thrown over his shoulder, as he stands looking unimpressed as Tomura speaks. “It was a speedrun. I was so close to beating my records and then you had to come here and…” scare me is something Tomura would never admit, even if his life depended on it. Except Bakugou is laughing because fuck Tomura. “...ruin it,” he finished, instead, turning back around.

However, Bakugou doesn’t take the hint and doesn’t leave. Tomura thinks he’s never hated a person as much as he does right now. To add salt to the wound, when he tries to further his point of wanting to be left alone by picking up his console, the fucking thing had the audacity to blink the red battery light and power off once again, completely dead. Tomura groans as he drops the thing again.

“There. Now you have my attention because the world is awful and hates me. What do you want?” 

Bakugou laughs at his pain. Jeez. “Deku told me to go see how you’re doing—”

“Fine,” Tomura interrupts.

“—cause he’s scared of your freaky friends.” 

“They’re not my friends,” he replies out of habit, but the corner of his mouth quirks up. Good to know normal people are scared of them, maybe they’d be left alone more. “Don’t you have an ocean to watch?” 

“Shifts over,” Bakugou answers. “I needed my towel back before I left.”

Tomura makes a half hearted wave to the towel in Bakugou’s possession with a ‘now leave me alone’ implied, but just for extra zing, because he feels festive, he says, “There, you have it. Now leave me alone.” and turns back around to slump over his knees to be left alone to his utter and complete misery. 

Except, the cool shadow covering his back doesn’t retreat. Why isn’t it retreating—wait is he still there, he can’t be that stupid— “Actually…” the shadow that will not be named because Tomura no longer cares, “there a bonfire later. You should come.”

His ears are working right, right? Like, he heard what this guy said, right? Not having any post-almost-drowning-delusions right now, right? 

Tomura turns around yet again just so he can witness his own sanity possibly failing him. Bakugou looks at him expectfully, where Tomura can only think Wow, we have the same eye color. “So?” Bakugou asks with a raised brow.

He puts it rather eloquently actually, answering, “Uh.” 

A beat passes.

“Did I break you? Did I just break this nerd?”

If anyone asks, this redness in Tomura’s face is from sunburn and sunburn only. Oh he can already hear Dabi’s snickering and Toga’s gushing as he clears his throat, wetting his lips, looking somewhere decidingly not at this rude lifeguard who he begrudgingly admits saved his life. “Uh,” Tomura says, “are you—? Are you being serious right now?”

“Yes, you loser.” Tomura can already hear the amusement in his voice. He has to be fucking with him.

But…

Well...

“Yes?” He said tersely. Then quickly adds, “if it's not lame or anything, I can… I can go.”

Bakugou snorts but, when Tomura looks at him again, he’s smiling. 

Okay, maybe beach day wasn’t that awful of an idea, afterall. 

--

OMAKE: 

“See,” Dabi said as he pats Tomura’s sweet little sunhat covered head as he pulls the brims down to hide his very ‘sunburnt’ red face. “I know my friends better than they know themselves. You totally had a thing for him.”

“Shut up,” he mutters dejectedly into the straw. 

Dabi only laughs because he knows under that hat, theres a dumb smile plastered on there.

Please god do you have recommendations on the best series to watch

Some of my personal recomendations that I can list from the top of my head, I will be writing a lot of text below so hold onto your horses.

My Life- NatalieFirexx

Still running to this day and in its 12th season. So amazing to see the growth over the years. The first seasons are so funny in a sense of knowing a little Christian emo kid made them, but later seasons have developed into such an interesting story with beautiful visuals, incredible cinematography and relationships that you end up caring about so deeply. Every season has a new storyline to follow and it's always so wild remembering all that's happened in its 10 year run and thinking up what else is to come. Though season 12 is said to be it's final season and I look forward to seeing what Natalie has in store for us after the finale.

The story of My Life follows the Andrews family and their friends in everyday shenanigans, you know, the usual: teen pregnancy, kidnapping, vampires, murder, identity theft, angels, ghosts, hacked kids and love.

(There's also a My Life Abridged voice acting series of season 1 currently in the works, now at episode 5)

Smooth Criminal - SaltPepperSims1408

I always have fun rewatching this. Its only 2 seasons long and once again, a sims series that evolved over it's run. Following Abby as her life goes from normal (if you can call your illegal scientist parents experimenting on criminals in your basement normal) to having visions of her parent's test subject's past and joining his gang where hes the leader and battles a disease that gives him 10x the strength and intelligence of a regular human being. Catch is, this genetic disease is rare and makes you go insane. Most people with it end up insane by 30.

A series with a lot of guns, a badass female main protag, death, once again, teen pregnancy (which will be a common sims series theme), fun dream/vision sequences and in my opinion has a great sense of humour.

SaltPepperSims1408 also has a highly recommended voice over series (though incomplete) titled Apokalypsis, a group of young adults/teens trying to survive in an apocalypse.

CINDER - GrayLeeStudios

Based on the book CINDER by Marissa Meyer. Cinder is a beautifully made voice over series, great visuals, wonderfully told it's story, though it is incomplete at 5 episodes, each running 10-18 minutes. Loosely based on the original Cinderella story but in a futuristic Beijing, adding robots, a colonization on the moon and a deadly plague that has affected the Emperor.

The protagonist is the mechanic, Lihn Cinder. Despite how well known her work as a mechanic is, she is looked down on for being a cyborg and is presented for plague research where she and Prince Kai become closer.

Y O U T H - 1998sims

YOUTH is a retelling of Youth, also a sims series by the same creator that reached its second season before discontinuing. Already a series that dealt with real life issues and involved a lot of representation in its characters. YOUTH is a different experience with all new characters, even more representation and everyone still feeling real in a way where their identities don't define them but are in NO WAY erased at all, like they're real people. When comparing the two series you can see the similar storyline but now its so much fresher and with new characters, their decisions in these situations change. Follows the story of multiple characters in their teen years and learning to deal with being a teen or in some cases having to make adult decisions despite that. Currently up to episode 5 but there is still so much more to come.

1998sims is also the creator behind Avoiding Fate, Its Complicated (currently not available online) and the most iconic series that I HIGHLY suggest you watch; My Sims 2 Emo Teen Pregnancy Kidnapping Story

SOUP - SimFilm

This sims 3 voice over series is brand new, as of this month, with one episode released but I'm already in love with it. It has this deadpan sense of humour I can get behind and I'm really looking forward to seeing where it goes. It appears the episodes will be short and sweet but I really don't mind at all.

Our protagonist, Harris Gold, alphabetizes his life's misfortunes like a can of alphabet soup.

I quote "looks pretty decent on the outside, but when you open the can, you'll simply want to kill yourself"

The filming is wonderful, I love the voice actors and how well they play their roles, the story so far is fun and silly but deals with really strong issues other teenagers might have experienced growing up. Kind of like laughing the pain away and I adore it.

Raison D'etre - Cornymio

I haven't watched a lot of sims 4 machinima if im to be honest (since life to death stories are so rampant on YouTube at the moment and I'd rather just avoid them) but this series was very well made. Only 2 episodes but the voice acting is amazing, the sims custom animations are wonderful and at times the sims can be almost perfectly lip synced to the voices. Has an indie film vibe that I adore, very calming and I adore the camera work. This is a revamp of the creators old Sims 3 series by the same title.

Reine Reynolds enrols herself into a new school, here we meet a variety of students who are all relatable in one way or another with different relationships amongst themselves. A nice watch and won't take long to get through.

Marry Me! - Tickled007

This is actually a companion piece to Marry You by Maot Productions. Marry You has more episodes and progressed it's story much further but personal preference I like Marry Me!'s characters and humour better. Not a fault to the creators though, since I believe they wrote both stories together and I do still recommend you go watch Marry You as well, just my personal taste. I also watched this very recently which is probably why it's on my mind rn.

Marry Me! Is a 2 episode long (so far) voice over series that's quite high energy, it's about a loud "bitch" fashion designer called Serafie and a "pushover" called Carmion. Two opposites that somehow cross paths and after a money hiccup, Seraphie demands that Carmion marry her. I love how silly it is, very kdrama inspired. If you can get past the overused swooping sfx in episode one (which drove me insane but will go away in episode 2) I think it's super enjoyable.

Tickled007 is also the creator of Passcode Unknown, Too Popular and And... Obvious.

I feel it unfair not to mention Maot Productions other creations either since they were also a big part of the Marry Me! Marry You project. They created Sense Me Not!, Corrupted Souls, Cruel Temptation and Retribution

Other simmers and their series that I highly recommend but realise this ask is going to get extremely long

EkolarasMagnum

Their series tend to have this grungy highschool feel to them but I get behind it. They're known for their more interesting sims style, some people love it, some people hate it but it shouldn't get in the way of the interesting stories. I used to adore their work so much as a teenager!

- Advocated

- Strangers

- Volatile

PumpkinsAtTheDisco

Made a variety of sims series based on books (before these same books were made into films) such as the Hunger Games. This creator is incredibly talented from filming, writing to composing their own music. You can really see their improvement over the years too. I love their work.

- The Hunger Games

- Miss Peregrines Home For Peculiar Children

- Dimension 17

- Post Icarus

- Harry Potter and the Cursed Child

StarsToShinex

Their concepts are fun and they have good voice actors. Their filming and editing is nice but their work does have an anime feel if that's more your taste.

- Spotlight

- My guardian

- My guardian- the next chapter

- Seeking Faith

- The last day

MajesticFilms

Their aesthetics are lovely, they make a lot of visually pleasing machinima. I admire their editing.

- Paper Boats

- Arsonist's Lullaby

- Sounds of Silence

- Machinima playlist

ViNtAgELovv11

Still works on videos now and I adore their work, been around for 10 years and only continuing to improve. I believe their most known series wou lkd have to be wasteland but please check out their newer works too!

- Scum City

- Wasteland

- Wonderland

- Runaway

- ROADS

There are so much more and i might make a pt.2 or something along those lines one day since this ask is getting long. But I also have a list of simmers and series on my navigation page if you want to search through some more works.

This Way Became My Journey, Ch. 23

While the computer was running its diagnostic on the alien device, B'Elanna Torres had snuck away to the mess hall to grab a ration pack for lunch. Well maybe she hadn't really snuck away; Captain Janeway had after all given her permission to take a small break. But it sure felt like sneaking away, with Michael breathing down her neck wanting to know every little thing that came up about the device. Snatching a ration pack up she went to join a Bajoran, by the name of Seska, who was sitting at a table in the middle of the room.

"I didn't think Janeway was ever going to let you leave the bridge," Seska drawled with that sly grin of hers as B'Elanna took a seat.

B'Elanna shrugged her shoulders. "I think she felt bad that her kid was watching over everything I did. Anyways I don't have a lot of time. I need to get back up there to finish working on that device that Chakotay brought back from the planetoid."

"If you ask me this is a waste of time," Seska replied, pushing her empty ration pack to the side. "We shouldn't be chasing after any aliens that like to harvest organs. It could end up getting us all killed."

"Neelix could die if we don't track them down," B'Elanna said, slightly shocked by her friend's cold tone.

It was Seska's turn to shrug her tiny shoulders. "The Doctor has kept him alive this long; that's better than most people can say if they had just had their lungs stolen."

"And what if it was Chakotay that had been attacked? Or Harry? Would you feel the same way?"

"Of course. Neelix should be counting his blessings while the rest of us get to the real work of finding dilithium to help the power shortage," Seska answered, her dark eyes studying B'Elanna's face. "You don't actually agree with Janeway's decision to go chasing after these aliens do you?"

B'Elanna averted her eyes. "To tell you the truth, I think it's rather noble."

Seska scoffed. "One noble deed doesn't make up for her selfish decision to strand us here."

The hatred for Janeway that was laced in Seska's voice was not lost on B'Elanna and the young Klingon woman suddenly found that she was not hungry anymore. Pushing the tray away from her, she looked her friend, or someone she had once regarded as a friend, in the eye. "Seska, I know it hasn't been easy the past month, adjusting to life on a Starfleet ship, but believe me when I say that Captain Janeway has the best intentions of this entire crew at heart."

"You didn't think that way a month ago," Seska pointed out.

B'Elanna shook her head. "No, I didn't. But the past few weeks I've worked closely with her and my opinion has changed. If we had used the array to get home, there would have been people back in the Alpha Quadrant who thought her decision to sacrifice the Ocampa selfish. Either way, she couldn't win."

Seska got up from the table angrily. "You're starting to sound like all those delusional Starfleet idiots."

The Chief Engineer watched as the Bajoran left the table and stalked out of the mess hall. B'Elanna wasn't sure why Seska was having the hardest adjustment out of them all. Perhaps she felt like she had been slighted by Janeway when she wasn't given a higher rank, after all, she was Chakotay's former lover. And then there was B'Elanna's promotion to chief engineer. It was never spoken between the two, but B'Elanna knew that Seska was jealous of her friend's promotion and the trust that Janeway put in her. She also knew that Seska wasn't too keen on all time the B'Elanna had taken to hanging out with Harry Kim in the mess hall or for a stroll on the holodeck. But Harry had been the only one nice to her, on the Starfleet side that is, for their first few days, and she was grateful for that.

It wasn't her fault that she was sliding into fit with the crew and Seska was struggling. She just needs to make friends outside of the Maquis, that's all. 

B'Elanna decided that the next time Harry joined her for dinner she was going to ask Seska to join them. She was sure that Harry would be friendly and make an attempt to befriend Seska no matter how unreceptive Seska seemed.

Speaking of Harry, B'Elanna was sure that Janeway had given him a fifteen minute break to eat something as well. Maybe she had missed him when she had first come in the room. Glancing around she soon found that it had been easy to miss him. He was seated at a corner table with Sarah Barrett. B'Elanna instantly felt…jealousy.

She was shocked by this, at first. There was nothing romantically going on between her and Harry so she shouldn't be bothered if there was something between him and the counselor. But then she remembered Elle Platt, back from her Academy days. Elle had the same dark, coffee brown hair as Sarah, same enticing sapphire eyes. B'Elanna had thought Elle had been her friend and had told her about her crush on one of their classmates. They never spoke of it again, until B'Elanna had seen Elle with her crush, cuddling on the lawn one warm afternoon. Elle later told her some story about wanting to keep B'Elanna safe because she only would have been hurt, that her crush never would have dated a half Klingon.

B'Elanna, who had always resented human girls, with their silky locks of hair, and smooth foreheads, had shortly left the Academy after that. So was it this fact that Sarah looked so much like Elle that she was jealous of the time she spent with Harry? And if she ever did want to be more than Harry's friend, how could she compete with the perfection that Sarah was?

She was shocked at this realization. Being more than Harry's friend? He was Starfleet, a nice guy, but still Starfleet. Well what's so wrong with that? They had been through so much together on the Ocampa home world, she had connected with him in a way that she had yet to connect to anyone else on the ship, with maybe the exception of Chakotay. And that's when her emotions switched to jealousy to downright anger.

Sarah could have any man she wanted on this ship, with the bat of her pretty little eyelashes, why was she with Harry? Good, even Tom Paris was eating out of the palm of her hand and she had taken the one guy that B'Elanna actually felt…feelings towards. It figures the one nice guy on this ship— 

"Seat taken?"

B'Elanna glanced up to see Tom Paris. She shook her head. "No."

He sat down and dropped his ration pack tray in front of him. His grayish eyes looked up to see what she was looking at and he frowned.

This peaked her curiosity even more. Was Tom's feelings about Sarah more than just wanting a date? B'Elanna suddenly didn't feel so bad that she was not the only one who was jealous on this ship. "Something wrong with the view?" she teased.

Tom only frowned more as Harry and Sarah got up and left the mess hall together, laughing about something. "No, nothing's wrong with the view."

"If I didn't know you any better Paris, I'd say you were jealous," she continued teasing getting up from the table and going to recycle her tray. It was time to get back to working on the alien device and the diagnostic. She would have to push thoughts of Harry aside until further notice.

However, the thoughts of Harry and Sarah eating lunch together, sharing a laugh, just would not escape her no matter how hard she tried to get her work done. Michael Janeway was still standing over her shoulder, soaking in every last bit of information that the computer was coming up with. If that kept up he could his mother the report and B'Elanna could return to engineering where her real work was.

Mindlessly drumming her fingers on the console she noticed Tuvok raise an eyebrow. "Does that form of activity make the computer scan faster?" the Vulcan questioned her.

"No, but it keeps me occupied while we wait." The doors of the bridge swishing open brought her attention about and Paris strode back onto the bridge, no trace of the frown he had worn in the mess hall. How can he let it go so easily? Oh, that's right, he's a pig. He probably has another love interest lined up behind Sarah and the Delaney sisters.

The computer beeping brought her attention about. "Captain," she called out, getting Janeway's attention. "We've completed our diagnostic on the alien device."

Janeway strode over to join the group, which was an odd mix when you really thought about it; a Vulcan, a five year old human boy, and a half Klingon. "What have you got?"

"It appears to be more than a weapon," B'Elanna reported. "It's also a very sophisticated medical scanner and surgical instrument."

"From what we can tell," Tuvok said, handing the device to Janeway, "it uses a neural resonator to stun the victim while a quantum imaging scanner begins a microcellular analysis of the entire body.

"The amount of information this thing can gather puts a tricorder to shame," B'Elanna continued. "You fire this at someone you learn everything about their anatomy, right down to their DNA sequencing."

Janeway turned the device over in her hands. "So we're dealing with aliens who've developed a technology specifically designed for extracting organs from other beings. The question is…why?" Chakotay demanded her attention and she mindlessly put the device down onto the science console.

"The alien ship has dropped out of warp," the first officer reported. "It's approaching a large asteroid."

The captain went to stand on the command station next to Lieutenant Barrett while Tuvok took his own station. "On screen."

"It's entered the asteroid captain," Paris reported.

"Hold position."

There were very little options that Janeway had at this moment. She could either take the ship into the asteroid if it was wide enough or she could try to flush the aliens out some how. But that could take hours, and Neelix didn't have hours. Even though the Doctor had come up with a solution for the time being, no one really knew how long he could survive using holographic lungs, not to mention that if ship's system ever went down and the emitters went off line, Neelix would die.

"MICHAEL!"

The shear volume of Lieutenant Barrett's voice startled everyone on that bridge and all eyes snapped about looking for the child.

The boy was standing at the door to the ready room and immediately Janeway could see that he had the alien device clutched in his little hands. The captain had moved the baby into the ready room so she could comfortably nap and she had no doubt that her son was about to test the device out on his baby sister. How could I be so careless with something that dangerous around? She hadn't even seen Michael move from his spot near the science station, for that matter, neither had B'Elanna. Michael was terribly clever, a trait that Janeway knew had been inherited from her; he could easily slip away from baby sitters, his mother, etc.

So how had Sarah seen it?

Michael looked sheepishly up at his mother. "I just wanted to see Ava's DNA."

His mother gestured that he give her the device back and he complied.

"Sit there," Janeway instructed, pointing to her chair.

Chakotay cleared his throat while the boy did as he was told. "Uh, Captain, we've determined the asteroid is man made."

Fascinating. What's even more fascinating that Sarah knew Michael had that device; another question for another time, perhaps. 

"I think I've located where the alien ship entered the asteroid, Captain," Paris was saying bringing their attention about to the situation at hand. "There's an open crater on the limb of the asteroid."

"Let's see it," Chakotay ordered and the viewscreen changed from the image of the asteroid to the opening that Paris had found.

Janeway crossed her arms over her chest. "How large is that crater, Mister Paris?"

"Two hundred meters in diameter."

"Captain," Tuvok cautioned. "May I suggest that you consider carefully what you're about to do?"

"How do you know what I'm about to do?" Janeway asked, raising an eyebrow and glancing at Tuvok.

"I could describe you in detail the psychological observations I have made of you over the past four years," Tuvok answered, calmly. "Which lead me to conclude that you are about to take this ship into the asteroid, but suffice it to say, I know you quite well."

"One of these days, I'm going to surprise you Tuvok," she replied, with a wry grin. "But not today."

Janeway moved back into the command station and briefly looked at her counselor. "I've already consider other options. If Neelix has any chance of surviving, we have to act fast. Red Alert. Mister Paris lay in a course. Mister Tuvok maximum shields, phasers at the ready."

The Captain turned about in the command station and looked hotly at Michael, "And you stay right there and don't touch anything."

"Yes ma'am."

Voyager glided into the asteroid while Janeway made her way down the command steps to stand next to Chakotay and behind Paris. Her eyes watched the screen intently as the cavern's walls began to narrow.

"Captain," Paris said. "I'm reducing power to the aft-thrusters only. This passageway is getting a little too narrow for my taste."

"Use your discretion Mister Paris," Janeway replied, turning towards Tuvok. "Any sign of the alien ship, Commander?"

"We're still following the ion trail," Tuvok answered, "but electromagnetic interference is limiting our sensor range. I'm only able to scan five hundred meters a head of us."

Chakotay asked the next question. "Are there any indications we're being scanned or probed Mister Kim."

"Not yet."

"Sick bay to Bridge. May I enlist the services of Counselor Barrett please?"

Janeway glanced up at the lieutenant. Was it her imagination or did the Doctor sound anxious? "Certainly Doctor, she's on her way, Janeway out." For a moment the women made eye contact. "You heard the Doctor, he needs your help, we're just going to have to handle first contact without you."

Madoka Side Story Magia Record, Episode 03: Old Friends

Episode three of Puella Magi Madoka Magica Side Story: Magia Record is the conclusion to the events of the last episode, in which Kaede and Rena’s bickering leads to dangerous encounter after Iroha temporarily joins their team to try to find her sister Ui in the mysterious Kamihara City. And while the plot doesn’t move along as quickly as in the previous episodes, this one does bring us a variety of interesting notes according to four R’s: Reckoning, Reconciliation, Resolution, and Revisiting. That last “R” is by far the most exciting, but we’ll save that ’til the end of this post.

First, the Reckoning. The girls decide to team up with Yachiyo, who is at her most Homura-like in this episode, cool and mean as her prototype, to try to get to the bottom of the witch rumor and save Kaede. Yachiyo is in no mood to bring Iroha along, but after the group visits Mitama Yakumo, the “Coordinator,” who not only counsels magical girls but has the ability to empower them by touching their soul gems, they enact their plan. The girls realize that they need Rena to genuinely apologize to create the conditions for the witch to again reappear, but Rena is unable to be authentic; luckily, the strong feelings she posits, even negative ones, are able to lead the girls to encounter their foe.

When spirited away to fight, Iroha comes across Momoko, who begins to speak negatively of Rena—however, as Kaede points out when she reappears shortly afterward, that’s actually Rena in disguise. Rena places some blame on Kaede for being too quick to resolve arguments, but ultimately she understands that the problem is within her; no matter how hard she tries, Rena is unable to become vulnerable enough to admit fault.

However, ultimately the girls are able to reconcile. Kaede has lost the bitterness she felt when the two last argued, and Rena fumbles through an apology, though it is meaningful and heartfelt. I have someone close to me who is like Rena, and that helped me appreciate her struggle. Kaede understands it as well, that Rena trying to apologize is an apology in itself.

It was also cool to see the girls transform, and the corresponding elements to their abilities.

So friendships are repaired, and thanks mostly to Momoko and Yachiyo, the witch is destroyed. Except, as Yachiyo points out, the “witch” probably wasn’t a witch at all, adding further to the mystery of the city. The girls will certainly keep investigating, and I think as this episode demonstrates, will continue to be an important part of the show. There was an opportunity here to kill off a character or to spend less time with the team and more with Iroha and Yachiyo, but the emphasis on the entire group remains. Indeed, the episode proper ends with Rena disguising herself and finding information at the hospital about Toka and Nemu, two genius young girls that were friends of Ui’s once and hospitalized with her, affirming a dream that Iroha had about the trio. It seems that Rena is now also friends with Iroha, helping to resolve the personal conflict beginning in the last episode.

But most excitingly, we get a glimpse after the credits of my favorite magical girl—Mami Tomoe. Yes, finally a revisiting by one of the original cast (Kyubey notwithstanding) as she takes on a task by Kyubey to investigate Kamihara City; the little demon isn’t able to do it himself because he literally loses consciousness when crossing over the boundary. Mami doesn’t want to do so either for fear of stepping on the other girls’ turf (Is it inevitable that she clashes with the Homura lookalike?), but the rumor of witches gathering to lead to a collection of all grief seeds is too disturbing for Mami to lay aside, and so, she now jumps into the mix. And I can’t wait to see what comes of this!

Interesting, also, is the reappearance of the young Kyubey, who leaps on Iroha’s shoulder near the end of the fight sequence before disappearing. Could he be Ui’s Kyubey? We don’t have many clues to go on as of yet, though I have a feeling that with this episode being so light on plot development, we may learn a lot more next week.

In the meantime, it was enough to enjoy a full minute or two of Mami in her glorious return. I also sat back and really took in the ED this week—I’ve enjoyed quite a few EDs from new anime this season (the one for In/Spectre immediately comes to mind), but I think this one is best: It’s emotional, beautifully designed, and featuring a song by our girls, ClariS. You literally could not improve on it.

Do you like the ED as well? What did you think of Mami’s reappearance? I’d love to hear your feedback below as we continue to work our way through this season!

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Puella Magi Madoka Magica Side Story: Magia Record can be streamed on Funimation.

Attack on Titan Season 3 Part 2 has been a production mess so far

I am here to vent for a bit about S3. (disclaimer: this is an opinion. If you’re going to get butthurt and defend anything without proper reasoning, feel free to move along.) 

First of all, most of these “complaints” come from the fact that I am a manga reader and the only new things I get to experience is animation, music and potentially anime-exclusive additions (eg. Levi vs. Kenny Round 2 in the cave).

In terms of how Season 3 Part 2 feels so far, I have to say it’s partially my own fault for having ridiculously high expectations for what is my favorite arc of the story. However, unless Wit works their ass off to fix what they’ve done in the Blu-Ray releases, this season feels extremely half-assed so far.

The thing that the snk anime has always done in comparison with the manga was amplify the emotional impact and delivery. Of course, the manga is static images, so by animating scenes and adding music, you expand on their impact. Season 1 is a prime example of this where it’s practically better than the manga counterpart in that part of the story in every way. Season 2 further continues this where it was basically next to flawless in terms of improvement, for instance the Colossal/Armored reveal which is still one of the greatest scenes in anything I’ve ever seen. The CGI Colossal Titan in Season 2 is a mixed bag but for the most part I didn’t really mind it.

Season 3 Part 1 did an interesting thing where, following Isayama’s direction, Araki and Koizuka adjusted the Uprising arc’s pacing so that it flows better as an animated story arc, and it worked well. The animation was also on-point and Rod’s Titan CGi was actually incredibly well done, and there were other scenes like the MP fight, Levi chase sequence and Historia vs Rod which had great dynamics and overall improved over the manga a lot.

Starting Season 3 Part 2, you begin to smell the fire coming from Wit Studio’s office filled with overworked animators. Episode 13/S3 Part 2 E1 was good and that’s it. Starting Episode 2, you immediately begin to see a decline in the storyboarding effort. What I mean by this is that they are literally just rushing to take a manga panel, give it the most minimal attention and proceed, without doing anything interesting with it.

And there are a lot of scenes where even static shots of the characters just sitting around and looking in a specific direction look off, as if animation style and art randomly decides to change mid-episode.

One of the things I can think of right away is the Eren vs Reiner fight. The whole choreography and storyboarding looks extremely half-assed and was clearly done by someone who has never worked on SnK before. The motions look awkward and the Titan faces look like they were drawn by 10 different people every other cut, without any of them trying to maintain consistency.

The Bertolt explosion thing was alright for the most part. As for the CGI Colossal I have no idea what they are going here. In one shot it looks good and in the next one it looks like someone slapped a DIY 3D model on top of it and forgot to do the lighting according to the scene. It was.. mostly okay in the latest episode, though. Also... Zeke’s design on the wall top scene changes every other shot he is in and I have no clue why. Kyoji Asano’s design? The animators? Like, the facial proportions legit shift in every shot and it looks weird as fuck.

Speaking of which, the latest episode was okay. I don’t have the complaints I have with the 2nd and 3rd episode but for the most part, it was alright. The shot with Levi flying towards Zeke and the soldiers in the background was weird, though.

On the plus side, Arifumi Imai is back on the 5th episode which is gonna be Levi vs Zeke and the thing I have been most hyped to see animated this entire time. Hopefully that is a redeeming factor.

Once again, it is probably my fault for having the highest of expectations for the RtS arc being animated, but it just feels like a dissapointment compared to the other arcs in the anime so far if you compare them to their manga counterparts.

Also, I have seen the supposed confirmation that Season 4 won’t be done by Wit, and I am honestly fine with it if it means we won’t get half-assed adaptations.

My Decision: Thoughts, Theories, and Some Changes to how I do Things from here

Ok...so here it is. I’ve decided to keep F/O-ing Aaravos. What happened in season 3 wasn’t unexpected. The creators hinted numerous times about his role in season 3, and I knew something was coming. I just wasn’t sure how to process my feelings on it.

Warning: If you care about spoilers, don’t read any further. Spoilers for season 3 of The Dragon Prince is below.

I came to the conclusion it wasn’t that he did bad things...but who toward. That being Viren. The villain of the show. I like Viren as a character still, and I guess now I see what Jason Simpson (his VA) in an interview was saying. He likes Viren as the complicated villain he is...but if he wasn’t just joking around, he doesn’t feel the same about Aaravos. At least this season.

I think it’s because those that genuinely like Viren’s character (not agreeing with his actions, but not disliking him as a character) will have a harder time with the scenes where Aaravos is doing something to him. Like the webbed up eye so he could see Aaravos’ ghostly apparition or the scene where the caterpillar emerged from Viren’s mouth but much longer and larger...and then continued to change in the final episode. As well as the many times he used clever wordplay on Viren to steer his thoughts into bigger plans...plans I think Viren would have had already, but until he became king he didn’t have the power to go through with it and was still in the habit of not overstepping his boundaries.

Viren is capable of lying and could be lying to himself about what he wants from Xadia. He just got power, he doesn’t want to lose it over a risky decision...but Aaravos knows what Viren is like, and uses that to his advantage.

If you like Viren’s character...you’ll probably have a hard time still liking Aaravos in those scenes. Because Viren IS the bad guy...and Aaravos IS manipulating him slowly but surely. It still isn’t clear what this means, or why...but I’m sticking to my belief Aaravos’ role isn’t as a villain, but he is an antagonist. There’s a difference between the two.

The show creators say mixed things on him. In their Tweets we get quite a bit of subtle but ominous warnings...and a confession his design was an attack on the fandom, from Aaron Ehasz (show co-creator) as a joke. Then Ehasz repeatedly says throughout several interviews that Aaravos is very complicated, and has said once that Aaravos is “disliked, that’s not the same as bad.” This being in response to Justin Richmond (the other co-creator) saying “and obviously he’s bad enough they literally tried erasing him from the {history} books.” Ehasz’ exact response being “he’s complicated” and Richmond saying “he’s interesting enough they tried erasing him from the books.” Ending in the above line from Ehasz of “he’s disliked. That’s not the same as bad.”

He was making a clear distinction between the two words, probably anticipating the suspicions from the fans hearing or reading the interview of his (Aaravos’) place in the story. This doesn’t make him good either...canonically I can’t call Aaravos “good” in any sense right now. Except good at being sassy and a show-off. lol

But I won’t put him fully in the villain category. Sol Regem was willing to kill the future King of the Dragons and an elf of Xadia if they didn’t let him kill the human with them either way. Yet he’s in all the promotional posters for some reason as well as the prologue opening. That part, of course, is made more clear in the first episode of season 3, though. He was flying toward the Dark Mage from the prologue in episode 1 of season 1. Then flying blindly as his face was burning after the confrontation.

He’s clearly also important to the plot...but I can’t call him ‘bad’. Not great...but not a villain.

The last bit of evidence is Aaravos’ actual name. It’s of Danish and Arabic origin and means “between light and dark, not good or bad.” Every other name has been spot-on:

Callum-Dove King: He’s a Sky Mage, and the Skywing elves are strongly influenced by bird themes, much like Moonshadows have strong ninja themes and the Startouch...is literally covered in stars and wearing a constellation on his clothes. Callum is a Sky mage, doves are birds, and he’s working toward a peaceful future. Doves are a symbol of peace.

Ezran-Helper: Look how helpful he was this season especially!

Viren-Leader of heroes: Uh...ok I don’t know WHAT heroes...but he is a good leader. Say what you will about his character, he has leadership skills. Aaravos didn’t have to teach him that stuff.

Claudia-Lame: Ok this is a bit harsh...but it is the ‘crippled’ lame. She’s...not doing well now. She isn’t physically crippled, but mentally and emotionally she is pretty badly wounded.

Ziard-Wizard: He’s a Dark Mage. A wizard. Spot on.

Sol Regem-Sun King: They literally say his name meaning...SUN KING. He was a king of the dragons once and is an Archdragon of the Sun.

Zubeia-Beauty, grace any of those. She really fits that name. She is beautiful.

Avizandum-Reserve Judgement: I interpret that to mean on Aaravos. He locked him in the place behind the mirror because he isn’t sure how to deal with him yet before Viren and Harrow slay him (Avizandum.) Aaravos is literally in 300 year jail time right now, and Avizandum was still deciding if he should execute him or not for whatever he did.

That or he’s reserving judgment on humans, which is why he defends the border instead. We might find out eventually...cause that is still a mystery. Why is the king of the dragons guarding the boarder 24/7? I get he was basically the ruler of all of Xadia...but it’s still an odd choice.

Anyway, Aaravos. Names clearly mean things in this show. I think his is the hint that he seems bad right now, but he isn’t. He isn’t good, but he isn’t bad. I don’t know how they’ll pull that off...but I’ll be impressed if they do.

There was also still more evidence on a theory I have that he’s telling the story is true as well. In the prologue, he calls Avizandum by his human-given name: Thunder. He says “the humans called him Thunder. For when he spoke his voice shook the earth and the sky.” In the episode we learn what happened to Avizandum, Aaravos is the one to say the name, but Viren doesn’t recognize it.

Viren is the one that tells Aaravos what they called Avizandum. Which was “Thunder.” If Aaravos isn’t an omniscient narrator and has been imprisoned for 300 years or so...how would he know this in the prologue if he didn’t in that scene? Coupled with the opening sequence of his hands uncurling a map, the lighting and desk surface or the shade of blue of his skin being nothing like in his prison. I could be wrong, and while I’d be disappointed to be...oh well.

What I’m saying is...Aaravos lives to tell the story if my theory is right. Which means he isn’t bad enough the writers have to kill him or something else...I don’t know how they’ll do it if it’s true, but I will be quite interested to see it.

Aside from the Sunfire elves in Lux Area, who I don’t think deserved what happened, his actions are all for a purpose related to what’s happening...but if we knew his perspective maybe it would seem less like a random evil act, which contradicts him being complex if it was just a show of his power and how ruthless he can be. Because from our perspective there wasn’t a reason to kill the Sun Queen other than “look how evil he is! Oooh!” Which doesn’t go along with the information we’ve been given so far. There’s more to this scene, I’m sure. Though it could just be that he killed her so she couldn’t reveal what he whispered in her ear...which was also a strange move. See? He’s complicated and there are still a lot of mysteries surrounding him and his actions. Aside from that, the only one Aaravos has done much of anything to is Viren. Anything kind of graphic and sort of gross (at least with the caterpillar.) Who is again...the Bad Guy.

So all that to say...yes, I’m going to keep him as an f/o. But in doing so I’m ignoring the show canon on this blog. As in I won’t be trying to work my S/I into the narrative as much anymore for the time being. I’m going to treat the blog similar to how @justafictionalthing​ where I don’t worry about canon or accuracy to the character’s personality in the source material to a T. I still love the show, don’t misunderstand. I’m going to watch it to the end of the saga, whatever happens...but on this blog, for the time being, I’m treating it like the Aaravos here and the canon are separate.

My Aaravos, the interpretation on this blog, is aware of his source material. If anyone’s read Inkheart, think of it like that. Fictional character comes out of their source material but still exists in the story itself as well. I might make a little story or something explaining this, but that’s the angle I’m going for in all future Takeovers and commentary.

I don’t dislike his canon portrayal, I know he’s more than what we saw...but for the blog it just doesn’t work right now. My S/I would never be ok with what he’s been doing...and keeping it hidden from her goes into some risky territory... I like that kind of stuff if there’s a happy ending payoff, but for the overall blog and my way of selfshipping, which has turned more “I’m actually with this character, not just writing myself in their story,” it doesn’t work.

TL;DR: I don’t hate or even dislike canon!Aaravos, but he doesn’t work well with what I want on this blog. I’m still with him, but the version you guys have gotten to know on this blog. Sassy but friendly and knowledgeable, and now separated from his source material almost Inkheart-style.

I’m too attached to who he is now from relationship development to drop this. I still like his canon self, but he’s changed a lot on this blog. If you don’t like that, watch the show for the ‘true’ Aaravos experience. Nothing but soft and sassy here for now. With some dark stuff if I’m in the mood for it.

What if Samus had Metroid powers: design for a hypothetical game

I got this ask the other day and my answer was a bit of a ramble, but I've come back to it with a clear head. I decided to have a go at hypothetical game design, for a Metroid title set post-Fusion in which Samus Aran gains Metroid-like abilities due to her DNA changes! Some of the stuff below is rehashed from the ask reply itself.

Be warned! Bit of a long post, and I apologise in advance for mobile users for whom readmores don't always work.

Premise

I tried to stay vague with the story details because I was more interested in writing about the gameplay, but I failed at that and wrote a lot. Story has it's own section at the bottom. However, the basic idea is that Samus, now an enemy to the Federation and probably on the run, ends up on a world where the environment triggers the manifestation of strange powers. Metroids are known to adapt when introduced to new worlds, and Samus is essentially doing the same- her Metroid DNA, previously doing little more than sparing her from the X, is now active and granting her abilities.

New abilities

This isn't solid ideas so much as a brainstorm, but I tried to come up with a few ideas for what Samus might be able to do with Metroid DNA. None of it has any scientific basis but that's okay, there's dragons in this franchise.

ENERGY DRAIN: This is the first ability you learn, perhaps one you start off with. Samus starts the first area trapped, maybe after a ship crash, and is told how to shoot and jump etc. by the game. Or alternatively, maybe she doesn’t shoot. Let's say her weapon is down for now, hence being more trapped than usual, and she's stuck using a melee move to break through the surrounding rocks. While doing this, she comes across a biological barrier. But as she goes to use her melee attack, something unusual happens... The barrier turns to dust, and the health she lost during her crash-landing is replenished.

Henceforth, that melee thing becomes a drain attack. This power allows Samus to drain energy, killing a foe quickly and restoring some of her own health, but it isn't unlimited or easy to perform beyond the starting portion of the game. With mobile and aggressive enemies, it requires very precise timing to pull off. I would personally make it so that the game relies on this move much less than Samus Returns relied on the melee counter, but have it function in a similar way. Samus can still blast quickly through enemies like she could in Super Metroid/Zero Mission/Fusion, but if she wants to absorb health she can coax enemies into a specific position and with the right timing, perform a drain move.

If the move is a success, it will insta-kill a low-level enemy and is more rewarding than a standard kill. This might even replace normal energy drops from shooting, or at least would give much more health back than a standard drop. If she fails, she opens up to the enemy attack and risks taking more damage than usual. So if a skilled player is at low health and might die, they can take the risk of draining from an enemy. They may either stabilise themselves, or take double damage and die instantly.

If we don't replace normal energy drops altogether, this becomes less of a thing. In fact for the sake of health grinding and general convenience it's probably better to keep regular drops in- this would just become a fun extra which allows you to get past certain points in the game, like barriers, and can let you heal up quicker if you've learned how to pull it off without fail.

Regardless, this allows for OPTIONAL bullshitting past segments and sequence breaking; for example, you might be able to just get past a standard too-hot-without-Varia region by energy draining the whole way through.

Most bosses would have opportunities to use this if you position yourself right, but I'd personally cut down on flashy cutscenes when it happens. They're fun but I don't want to sacrifice the flow of the game for cinematics too much. Just a quick draining move, steal a bit of health. This move wouldn't work on mechanical enemies, because it relies on life energy specifically.

As you go along, this ability might power up, perhaps triggered either by the environments Samus moves into (since Metroids introduced to new environments will alter accordingly). Perhaps there are ways to power up every Metroid ability, or even an item that allows you to enhance one at a time by channelling your energies-something like that. An enhanced Energy Drain may steal more health and even fuel your weapon ammunition or something like that. Plus, it would make it easier to insta-kill some stronger enemies with the move.

I kinda like the idea of using an item to power up one Metroid ability at a time. To add a bit of challenge to the game, so you can't just switch to the most convenient one at any given time, maybe have it so that you can only change your powered-up ability in certain areas? Special Chozo statues? Interfacing with the other half of whatever this technology is, maybe a computer system found in a couple of rooms across the planet (with all except the first one or two being in hidden and slightly hard-to-find locations? Is that being too mean?)

(Btw just to get retro, we're giving this hypothetical game cheats- one of which is the ability to switch power at any time. Among others like immortality and fun suit colour changes.)

One thing I considered is that, similar to Aeion, Samus might have a power meter for using other Metroid abilities. This would give more function to the draining move outside of just health, and could explain some of Metroid biology too. It would imply that they specifically have to feed on life energy in order to do the things they do, and normal food wouldn't power them up the same. For that reason, Samus could power up her energy meter by draining. The amount of power she absorbs would be proportional to the enemy difficulty.

This could make certain segments trickier; for example, if there were a region similar to the end of Metroid 2 (not Samus Returns) where Metroids have killed off most of the life in the area, Samus would have to use her powers sparingly. The player might find it a bit trickier to traverse the area if they run out of power. Enemies here might be easy to kill and give a lot of power back on easier modes, but harder to kill and less rewarding on hard difficulty.

An alternative is that Samus's powers are fuelled directly by her own life energy, i.e. her health. This would essentially work like Phazon, but not in bursts; each time Samus activates a power, she sacrifices a bit of health, either continually or at once (again, same as how Aeion works, but depleting the health meter instead of a separate one). This makes it vital to locate energy tanks, which could prompt more exploration and may lead Samus to interesting locations that have hidden lore and such (see the section below for more on that). This might also be interesting from a lore perspective because it explains why Metroids are so aggressive as predators- they waste so much energy on simple things like flying, it means they have to near-constantly feed.

Which brings me to the other power-ups. I imagine Samus wouldn’t pick these up traditionally like items. There would still be items in the game, including several brand new ones not directly comparable to those in previous games in the series (obviously we can bring back some old favourites but copy-pasting the exact same items over and over again can get a bit dull even with new abilities). Most normal items would play to the normal Metroidvania game design, of “can’t access area -> locate pickup -> move to new area. These abilities might be triggered by moving into new environments, or if Samus is under stress i.e. during a specific boss fight. So you wouldn’t necessarily be hunting for them, but they could still let you get to new areas or items.

FLOATING: Samus floats, draining power continually until she stops or runs out. This one would require significant limitations; for example, perhaps as you move further away from the ground, you drain SIGNIFICANTLY more energy. This means you are welcome to try and sequence break, or get an item that you were meant to get with grapple beam, but you're wasting a LOT of energy doing so. Maybe gravity is still trying to pull Samus down once you lift off, so you have to actively fight it, and each ascent drains energy faster the higher you go. Sort of like a built-in jetpack. With that said, this would have interesting applications in world traversal.

An enhanced float may have a significantly lower cost for ascending or just maintaining the float. Because we all love some Aesthetic(tm), maybe Float+ gives Samus a faint wing-like aura when she uses it- especially if we go with the above idea that Samus uses Chozo tech to power it up. Imagine the sick fanart that could come out of that.

SHIELD: A fairly standard one ripped off of Samus Returns' lightning sheild. By sacrificing some energy, Samus can temporarily keep up a shield that will mean she takes less damage. If we go with the function of sacrificing health for Metroid abilities (rather than a separate power bar) it would require some careful balancing as well as player learning- for example, trying to ensure that (at least for stronger enemies) it's worth turning it on at all, and that the energy loss to create the shield is less than the theoretical energy loss if you took hits from the enemy.

Maybe this would be a pulse thing rather than an ongoing one; you activate it, and it lasts maybe 10-30 seconds, taking a defined amount of energy. During that time, you get an opportunity to pummel the enemies around you while not being knocked back or stunned when they hit (though you might still take e.g. 1/2 or 1/4 damage from incoming attacks). Of course, it could also function to protect Samus from things like lava, allowing her to access subsurface items if the game never gave her a Gravity Suit or equivalent.

A powered up version would obviously be something like a stronger shield, or a less costly one, or longer lasting if it's activated in pulses. Or a mix of them all. Maybe even a lightning shield effect where things that come into contact with Samus take damage, possibly even feeding her a bit of health (in TINY amounts, not comparable to the drain ability). Visually, so it looks as pretty as the powered-up float, it could maybe have an effect similar to the traditional big-shoulder Varia suit (assuming Samus is still in some form of the Fusion suit by this point).

SENSE/METROID VISION: I'm ripping this one off Samus Returns as well, but I'd change it. This would allow Samus to detect the life energies of all creatures in the area by focusing. It would also indicate how the larval Metroids, lacking eyes, locate their prey. Sensing would either come as a pulse like in Samus Returns, or a toggle on-toggle off ongoing thing, which you can't keep up indefinitely due to energy waste. Like in Skyrim where you can use the Aura Whisper shout or Detect Life/Undead etc.

Key differences include that this ability doesn’t show you hidden entrances by default; it would just indicate that "something is living in this wall" and you have to make judgements based on that info. Is this an enemy that will jump out and kill you (hence, you can avoid it)? Is it a hidden room with enemies in, and an entrance nearby? Thus, it keeps in a little challenge and exploration work.

A powered up version might be able to show other things too, including nearby items, entrances, or breakable blocks- like scan pulse from Samus Returns. That would make it useful for players who don't want to spend hours bombing every wall, or 100%ers like me who are at the endgame and getting frustrated because they can't find the last two missile upgrades. Obviously it's offset by the aforementioned fact that if you choose this ability, you can't choose another without going back to one of the set locations.

TELEPORT: I'm hesitant to include this one because it was fairly signature to Phazon Metroids, but I guess it could be passed off as "a hidden Metroid ability that Phazon unlocked". This would allow Samus to do short-range teleports for an energy cost. I dunno who's played Axiom Verge here, but there's an item which (spoilers if you haven't played it) lets you teleport through walls, and once upgraded it lets you go through bigger and bigger gaps. Samus's teleport would be more instantaneous than that one, and available to use from any position, but costly to perform.

The teleport could help her dodge enemy attacks (though like energy drain, success would rely on timing, and Samus might still take damage just before she teleports assuming there's a slight delay from inputting the command to actually jumping). It would also allow Samus to get through certain walls, though there may be some which are inpenetrable due to the material they're made of. I don't know how it would work in terms of control schemes, but maybe the player could choose their jump distance, with smaller jumps needing less energy.

A powered up version might be able to take Samus further or even have her emit an energy burst when she leaves/emerges from the jump, damaging nearby enemies- though with a greater energy cost.

METROID COMMAND: I can't think of a lore reason why this one would cost energy, unless it's some weird energy psychic thing that specifically resonates with Metroids. Anyway, let's assume Metroids aren't unique to the end-game Tourian-esque area in this game, and there are several locations where you can encounter them throughout the world. This ability would allow you to communicate with them, actually stopping their attacks and saving yourself or other nearby innocent creatures.

Maybe these Metroids are communicating with a "parent" who is actually an evil enemy (i.e. intelligent species that bonded parentally to them- see lore section below) which may result in more co-ordinated attacks than you see from wild roaming individual Metroids. But Samus can use this ability to stop their coordination, or even turn them on their handlers!

An upgrade of this... Maybe Samus turning the Metroids on their allies, including each other and the enemies commanding them? Keep it up long enough and you might be left with just one Metroid standing for you to take out. That could lead to some dark stuff as well. I can imagine Samus needing to be ruthless by using this ability for survival, but feeling baaaad about it.

The upgrade may also include things like asking local Metroids to affect the environment; bringing inaccessible power-ups to Samus, such as ones on high ledges (if she doesn't want to waste energy floating up there) or opening new passageways that Samus herself couldn't get open, either via draining or using brute strength, depending on the Metroid form.

SOMETHING TO DO WITH SHAPE CHANGING: This is one that, cool as it would be, would be REALLY hard to implement because I cannot think of an idea for how it would work. Especially because Samus is in the suit, and we're presuming that the suit itself can't really change shape along with her. But the basic idea is that Metroids famously mature and change, so what if someone with Metroid DNA could undergo controlled, temporary form changes? Or just change certain body parts? I'll come back to this one in the plot section but I'm not convinced Samus could use it herself, though it would be really cool, if potentially OP. Why have a Metroid Vampire when you can have a METROID WEREWOLF kinda I guess.

Just going for bullshit here, perhaps Samus could unlock this one close to the end in a Zero Mission-esque sequence where she's parted from her suit. She seems vulnerable and really has to rely on her Metroid abilities while being extremely energy-conscious, because she's no longer got extra energy tanks to keep her alive (going by the life=power method anyway; slightly less relevant in the separate-energy-bar method except for the fact that energy refills require enemy draining, and that move is much riskier without the suit, since it already increases damage if failed.)

At the end of the segment, she starts growing claws and being able to slash through thick wires or whatever un-drainable thing is in her way. Then she grows bigger and gets more hunched, scaled, and armoured, until she's starting to look like a warped variant of an Omega Metroid. Maybe even a Queen. Luckily she gets under control of it and reverts when she finds a power suit to fit into, something most Metroids can't do but luckily she's a humanoid protagonist and can't stay monstrous forever. Also gives a reason for her to replace her Fusion suit with a cooler classic Chozo suit!

(For real, would Nintendo even do that? Use their sex-sells tiddy out game section as the scene where Samus becomes the most un-fuckable monstrous body horror dragon alien in the game? Probably not but I can dream.)

Maybe the player can't really control this one, or there's a huge cost to doing so but when you do you become SICK AWESOME POWERFUL and take up half the screen and the final boss attack that should've one-shotted you just slides off your back. Maybe. Maybe I just think monster aliens are cool.

Ideally I would like to have maybe 4-5 unique abilities in the game. With drain as one and four others, it would be fairly similar to Aeion and could act as an off-SR388 Aeion replacement. The above ideas are by no means the limits of what could be done, but I can't think of any others at the moment. To work nicely with the game lore, ideally there would be some powers that Samus hasn't seen Metroids use before. Not only does she learn to use them herself, but the Metroids on this planet start using them too, making for some new and unique Metroid battles.

I would leave as much leeway as possible- there's a lot of ideas here, and while new abilities are fun to play with, I don't want it to be over-complicated or inaccessible. This is very much just a brainstorm! If this were a real game, the most important things would be letting the player have fun, feel badass, and tackle challenges their way so they can feel a sense of achievement from finding items or beating puzzles.

Plot

Okay I wasn't originally going to go into plot, but I got carried away. Because this is a sidescroller in particular, you don't have the advantage of Prime's scan system to pile on lore. I wouldn't do too much heavy plot and dialogue, at least not more than Fusion. If anything, LESS than Fusion to decrease dialogue time. But I might adopt Prime elements, specifically stealing the idea of scan downloads from Another Metroid 2 Remake. These would activate at key times, including new boss encounters, entering new regions, or when the player stumbles upon something interesting. In that regard, I'd hide secrets around the world; little rooms which may or may not contain items, but which add an optional lore entry to your logbook as you enter.

Some plot/gameplay stuff I would include:

So this post-Fusion game would probably be where you'd pick up the thread hinted at by Samus Returns' Chozo memories- there are evil Chozo, and either they still exist, or have left a dangerous legacy of bioweapons and robots. Perhaps there's only one or two commanders left alive, and they will stop at nothing to stay that way.

Adam exists, but his dialogue with Samus is limited. This is intended to create isolation, but also hope. When all feels down, you might stumble on a way to communicate with your ship and with Adam again, getting a bit of reassurance. Adam may be able to help direct you during these moments, but I wouldn't go to the same extent as Fusion itself (or Zero Mission's Chozo statues). He might not be able to point out direct target locations, at least not later in the game. Regardless, I don't want to totally sideline him in the title where, post-reveal in Fusion, his character really ought to be emerging properly.

Metroids have new, previously unforeseen abilities locked into their DNA. The planet this game is set on is a Chozo haven with a perfect atmosphere. It has been selected by the evil Chozo for Metroid breeding in order to bring out their full potential. As Samus arrives here, the environment starts affecting her DNA as well, and she begins unlocking her own hidden abilities, one by one.

She runs into evil Chozo, most of whom are hostile to her. If we permit some dialogue at designated points (otherwise implying that Adam and Samus's communications are largely disrupted, keeping the isolated feeling in place) she might confess to Adam that she feels horrible killing what might be the last of her kin. Though I wouldn't write a plot around pushing a theme, there may be an underlying theme of identity, with Samus's human vs. Chozo vs. Metroid identities coming into conflict. The conclusion of which might be "actually, who cares, I'm just Samus. And whatever Samus is, she's an awesome galactic saviour who won't ever be truly alone in the universe."

The main boss Chozo are not initially hostile- they may coax Samus in, pretending to be her ally until it becomes apparent that they want to use her as a pawn for their greater plans. Again, I'd minimize dialogue here. Instead, Samus's communications with these Chozo may be through things such as wall scrawlings or messages left on abandoned computers (readable through the logbook). When she actually meets them, the dialogue would be vague as to whether she read those lore snippets or not, but the players that did read them will have a deeper connection to these mysterious Chozo and greater understanding (though it may be a completely false one) of their motivations.

Adding to that, there may even be a good Chozo among the ranks, one whose wall scrawlings etc. are harder to find, implying they have to hide them. Maybe even taking the Axiom Verge route of having them in an untranslatable language, until Samus picks up a required cipher and can go back to her logbook and read them. But they give Samus reason not to trust the others. You may or may not ever meet the individual(s) leaving these messages, implying they have been taken care of since you arrived but before you met them.

This could actually give the players plot advantage- maybe at some point, Samus is offered a choice of direction. Evil!Chozo says "Meet me at the pool where we will perform the ritual to revive all the dead Chozo." but Good!Chozo's scrawlings said "If he tries to take you to the pool, you're gonna die and the Metroids will be unleashed again. Sneak in via the overhead pipe and drop some bombs on his machine, destroying it before he even gets a chance to start it up." (Something you could optionally do anyway, if you the player finds the pipe entrance and decides not to trust this Chozo. It gives you a bit of free reign to interpret the characterisation of Samus and what she would do.) In the latter case, it might prevent you from taking some initial surprise damage from the boss, or let you skip sections of the boss fight.

Evil Chozo are breeding Metroids, and forging parental bonds to them. This means the Metroids will defend them to the death just as the baby Metroid did for Samus, and also they have trained them to follow commands, mostly battle-related ones. Maybe they have figured out what SR388's Chozo could not- how to remain friends with Metroids after puberty. Thus allowing them to use matured Metroids. It would be lazy to include Alpha-Gamma-etc again because this isn't SR388, so I'd design new Metroid forms, which in-lore are supposed to be upgraded and more powerful according to the design of the Chozo that bred them here. They might superficially resemble Alphas etc. at first, but their developmental pathway ends up very different and unique.

The big ending twist is that the final boss Chozo is modified like yourself- you couldn't have guessed! Lore-wise, perhaps they were one of the ones who originally created the Metroids, not starting as one of the murderous Chozo seen in the Chozo memories. They knowingly turned on the other SR388 Chozo in order to side with the bad guys, and worked their way up the ranks once that trust was earned. Their Metroid DNA could then be explained by them having, like Samus, come off SR388 with an X infection that needed curing. Or maybe they just happened to be an expert in Metroids and thought it would be awesome to use Metroid DNA to get stronger.

Gameplay-wise, this means they can use powers like yours, but also a variety of others because they're a final boss. One of these might be a refined form of the shape-changing that I'm not convinced Samus could use. Metroids mature into new, bigger forms, and perhaps our villain has figured out how to do this in a controlled manner.

Remember the Chozo tech Samus might use to power up her Metroid abilities? Our villain upgraded theirs so all their abilities are powered up. But you're Samus Aran and you're still winning. In desperation, they use it to mutate into a giant monster, like some kind of weird bird-dragon-alien with hundreds of eyes and bioluminescence. Awesome! This is their final form, but it's not as brief as the mutant SA-X's appearance; maybe you defeat their normal Chozo form in the penultimate boss fight, then have to go up against this version of them at the very end.

Of course, they're still a Metroid-based monster. They have VERY potent draining abilities, which they will use more often on , so you have to use a combination of items you've picked up on your adventure, and your Metroid abilities, to prevent them from making the fatal strike, because if they hit you with that attack you're gonna lose between 1/2 to a full energy tank and they're gonna gain a chunk of health back. It's a mean boss design, but on lower difficulty settings it would be toned down.

Sequel potential

I’ll give this one it’s own section to break up the text walls a bit.

The idea behind having this SR388 traitor Chozo character in particular is that they are NOT the initial wave of evil Chozo. This means that whoever "turned them to the dark side" might STILL be out there. Thus, the plot is not over yet, and there's even more sequel opportunity to be had! It could essentially begin a new arc. I wonder how the next game's final boss could compare to "giant intelligent bird-alien-dragon-lamprey" though?

The game discussed so far might make no mention of the Federation at all, because that would overcomplicate things when the plot focus is on Samus, Chozo, and Metroids. A sequel could easily reunite Samus with the Federation, and let trust be regained on both sides as she saves them from the evil Chozo that are now trying to destroy and dominate everything for evil reasons.

Though we don’t want to sacrifice too much traditional fast-paced Metroid sidescroller gameplay time on plot stuff, maybe have a sideplot where the corrupt parts of the Federation are cut out? No doubt those who wanted to breed Metroids, no matter how pure or evil their intentions, are the most likely to accept help from a band of evil Chozo who have lots of Metroids and need help breeding and improving them. It could end up being a dialogue-heavy thing but it would be fun to see this subplot played out without any dialogue whatsoever; Samus just doing her thing behind-the-scenes to stop or expose these people, while they send threats after her.

One reason why I bring up sequel potential at all is because Samus is now part Metroid and the Federation know it- but they don’t know about her abilities. Now she’s saving their asses and they’re gonna have to learn about it. That might lead to a whole bunch of new conflict potential, which could either be explored in-canon or by fanfic writers afterward. Fun either way. May even lead to MORE sequels where the Feds are creating superhuman bioweapons because they learned it worked with Samus.

What happens with Samus's powers between the two games? Will she go into the next game being super OP? Probably not. So how will that be resolved? Theoretically this first game in the “arc” could be the only one, and could actually end the timeline, but it would be a bit of a shame to do that.

One possibility is that Samus has to suppress or lose her powers. Maybe they start getting out of hand, beyond her control, especially if the shape-changing thing comes into play. She may use a reverse form of the power-up technology to tone down her abilities to nothing for safety reasons. She may even use the final-boss-guy's DNA modification equipment to strip herself of her Metroid DNA. Perhaps she decides that it's not something she wants to be a part of herself any more, and takes it out.

Here's a fun tangent off the last one- what if the DNA mod goes wrong and she does something else... Like damage her Chozo DNA? What implications might that have for a future game, and for Samus's own perception of herself? What if we were left on a cliffhanger, where Samus knows she has to rush off to her next battle with the evil Chozo but when she steps into her own suit, her own second skin, it rejects her?

As an alternative, maybe something off-world- or even just the act of BEING off-world- means she loses her abilities because her body "settles down" and suppresses them outside of that world's environment. While this may seem like a cheap ending, it depends on how sequels go. Because in theory, Metroids adapt to their local environments, which means Samus might be able to unlock a plethora of brand-new and previously unseen abilities in the next game owing to her arrival in another new environment.

Conclusion? I have too much time on my hands. It's been an interesting one to think about. Aside from "Chozo will return as villains" I couldn't really speculate what will happen in Metroid 5 at this point, though I'm very tempted to say it will be made eventually. Unfortunately, word-of-god says that Metroid Fusion's ending rectified Samus's DNA and took out the Metroid stuff (hence her losing cold weakness at the very end) so it's unlikely that any of this kind of thing would make it to canon, unless they're happy for to retcon what was already a fairly unclear thing in game.

this week on gallifreybase: my attention’s been turned to a brilliant post summarizing all the unmade episodes in new doctor who some of which i knew about, some i didn’t i love this kind of behind the scenes stuff to death so here is the post under the cut for everyone to enjoy

Series 1 -The Paul Abbott episode Originally in RTD's Series 1 Pitch document, Episode 11 was just called "The New Team" and just said "The Doctor, Rose and Jax. A small scale adventure, character stuff" presumably to be written by RTD himself. Then it was retitled "Pompeii" after RTD saw a documentary on the event and thought similar SFX could be used a Who episode. Then Russell managed to tempt his friend, successful showrunner Paul Abbott to write an episode. So the pitch document for Ep11 was re-titled "Paul Abbott Episode" There's no evidence that Abbott used the Pompeii idea. Instead, according to Russell, Abbott's story pitch was that Jax would discover that the Doctor had been secretly manipulating Rose's life, in order to make her the perfect companion and there would be conflict over whether to tell her. RTD was hesitant over the idea, because it ruined his own plans for the Doctor & Rose, but he allowed Abbott to continue to develop it. However after a few weeks it became clear Abbott wouldn't have the time to do the episode, Russell replaced with his own script "Boom Town" Series 2 -The 1920s by Stephen Fry In RTD's Series 2 story outline, Episode 11 was called "The 1920s" and was to be written by Stephen Fry, partly based on research for his film "Bright Young Things" The episode was also based on the story of "Gawain and the Green Knight" giving the story new alien origins. It included a scenes of the TARDIS landing on a strange planet. It was reportedly set in 3 different time periods (incluiding the 1920s) The story apparently involved the Gawain character falling in love with Rose in the wrong narratative order for viewers, and for Rose herself. However, late in 2006, it was decided that the story was too expensive for this point in production and it was pushed back to Series 3 & replaced with "Fear Her". It has also been said there were issues with violence. Unfortunately by 2007, Fry didn't have time to rewrite the script further or alter it for the new companion and so he wrote a letter to RTD and it was abandoned altogether. Some have said (off the record) that the script's tone was was very different from RTD episodes, closer to the Classic Series (e.g. It began with the Doctor & Rose playing chess in the TARDIS by candlelight) in 2011 Fry has said he would like to re-use the idea, taking out the Dr Who elements and turning into a novel, when he has the time, but since then nothing has happened. Series 3 -Ood story by Chris Chibnall After his first successful year show-running Torchwood, Chibnall was invited to write for Dr Who, Series 3 Episode 7. He told Starburst Magazine "Russell said, “Come and write this episode"... It was one with the Ood, and it had Zack and Ida from The Impossible Planet, and it was like going to see what had happened to them afterwards. There were tiny elements of it in Planet of the Ood but it wasn't the same story. And so we did a lot of planning on that; and it was an alien planet. And then I finished all my writing duties on Torchwood and we had the meeting and it was like, "Actually we can't afford to do that. We need an episode set in corridors, with no monsters, because we couldn't afford monsters. That's probably why there are no real aliens" Series 4 -The Suicide Exhibition by Mark Gatiss This was planned for Penny's (later Donna's) Episode 3 (which was later swapped with "Planet of the Ood") RTD's Series 4 breakdown describes this as "World War 2. Monsters on the loose in the Natural History Museum as a Nazi strike force invades...Plus an Indiana Jones-type chamber hidden beneath with sliding stone doors" Gatiss said the story was based on how, during the war, museums would put out less well-known exhibits, so that if they were bombed they wouldn't lose any great treasures-Suicide Exhibitions. He also said the monsters were based on the preserved bog-men found in the museums, like "The Lindow man" "After the first draft, Russell said, "Let's make it the Nazis and do the full Indiana Jones on it." The whole museum was a puzzle box of sliding doors and traps and stuff." Gatiss worked on the script for a year, and a script was ready to film, but when the production team discovered it'd be possible to shoot an episode overseas, the story was abandoned in favour of "Fires of Pompeii" -Century House by Tom MacRae An companion-lite episode. The Doctor goes live on reality TV show "Most Haunted" to track down a ghost known as The Red Widow. Donna & her family watch him at home on TV. It was set in a big old, abandoned, spooky house on a cliff top, with OB vans and tricks with cables rings around the house. Certain rooms would flashback to the 1950s/60s. There was a big fire sequence towards the end. If I remember correctly, MacRae compared moments in the episode to Sapphire and Steel. This was an idea RTD originally gave to MacRae to develop for Series 3 (so Martha and her family) Unfortunately they found there wasn't a place for it there, so it was held back for Series 4, episode 8. Unfortunately, despite MacRae working on it for over a year, RTD and the team were concerned that the setting was too similar to "The Unicorn and the Wasp" and that the concept they had given him wasn't strong enough. Shortly before pre-production, RTD challenged himself to try to come up with something better in a few days, and ended up quickly writing "Midnight". In a later interview, MacRae was quite sanguine about this, saying that if his episode had to be replaced, he was glad it was with one of the best. The Specials -Space Opera/Alien Hotel by Gareth Roberts and Russell T Davies One of RTD's earliest ideas for the 2009 Easter special would be have to the TARDIS arrive in the middle of an interstellar war, complete with aliens, spaceships, and dogfights in space. He gave this idea to Gareth Roberts who wrote an outline. RTD has issues with the result, including later scenes set in an outer space hotel where guests were having alien eggs secretly implanted (a gruesome reference to easter eggs) So the story was abandoned in favour of what became "Planet of the Dead" -A Midwinter's Tale by Phil Ford and Russell T Davies A grandmother (possibly to be played by Helen Mirren or Judi Dench) is trapped in a posh hotel with her unruly family at Christmas. Wishing that they'd all just disappear, she storms out, only to find the corridors deserted, her family has disappeared, and as she searches further, so has all of humanity. Finally, she comes upon the TARDIS and the Doctor. Investigating, they discover eight-legged centaur-like creatures abroad in London. It transpires that aliens from another dimension, the Shi'ar, have frozen time on Earth in order to hold a festival celebrating the marriage of their queen. The life of the grandmother's family becomes endangered, culminating in a race through secret tunnels beneath Buckingham Palace. This was a story idea by RTD given to Phil Ford, planned for when there would've been only 3 specials: Easter 2009, Christmas 2009 and the Doctor regenerating at Easter 2010, leaving a few weeks before Series 5. "Midwinter" would be the Christmas special. Eventually it was decided there wasn't enough incident for an hour. "Waters of Mars" was developed instead, which was then moved to November with a new two-part Christmas regeneration. Series 5 -Death to the Doctor by Gareth Roberts This was originally planned for Series 5: Episode 7, the "Amy's Choice" slot. According to Gareth Roberts on Twitter,it was set on a Holiday planet like Las Vegas in middle of huge star war. The planet totally peaceful, with the law rigorously enforced. , There were police robots called Fleetfoots. If anyone committed any crime they had to fight a duel with a giant cyclops, and then the Doctor got arrested on a minor offence... Amy and Rory would have to find a way to get him off world without whole planet going up in war. The story also involved a disgraced Sontaran character called Commander Skorn. This story got as far as CGI being designed for the cyclops. Unfortunately as Series 5 went on, there was a budget crunch and it was realised they couldn't afford their original plans. So Hungry Earth/Cold Blood was rewritten to be cheaper, Neil Gaiman's Episode 11 was moved to Series 6, and Roberts' episode was abandoned altogether. Instead Roberts and Simon Nye were hired to write new, cheaper stories for episodes 7 and 11. However, even though the episode was lost, Moffat reinvented Commander Skorn as Commander Strax for A Good Man Goes to War, delighting Roberts. -Fear Itself by Paul Cornell (from Paul Cornell's Newsletter https://paulcornell.us17.list-manage.com/subscribe?u=198e8a011b70a7fa79dd704d6&id=de506d08cb) This was to be a companion-lite episode. It was a loose adaptation of Cornell's Christmas story "The Hopes and Fears of All the Years" The story involved the Doctor visiting a boy (Tom) every year on his on his birthday, because the Doctor knows he will, on one birthday, save the boy's life. It charted the life story of the boy, then the man, through the Doctor's regular visits on the same day. The story went through at least six drafts with the threat the Doctor was protecting Tom from changing during this process. By the Sixth draft it an alien computer that turned surrounding people into monsters for a few minutes each year. Tom had a green glowing lump on his neck & the computer's directive was to obtain it/destroy it. The story got as far as Cornell being brought in to to talk about casting, with some big names being discussed for grown-up Tom. Eventually it was decided the story was too expensive for Series 5 (Two scenes of birthday visits through the decades would've depicted the two World Wars) and the episode was pushed back to Series 6. However when Series 6 started, Cornell was told they weren't going ahead with his episode after all. Series 7 -Craig of the Gods by Gareth Roberts This was intended for episode 5 of the original Series 7b when Beryl the Victorian nanny was to be the companion. Craig was playing a computer game with real people trapped inside. The Tardis landed in game, Doctor and Beryl looked up through the clouds to see god and it was Craig. The story was seemingly abandoned when Beryl was replaced with Clara as the companion Roberts later observed that similar ideas were used in Series 10's Extremis. -Craig's Wedding by Gareth Roberts This would've featured the return of Craig, Sophie and their son. In one interview, Roberts said "I had this idea where Craig and Sophie were going to get married and were on this beautiful island somewhere near Greece and it was all going fine, then you turned around and saw the Doctor water-skiing away from a Sea Devil. Then you’d have Craig trying to keep him out of the wedding.” However someone who had read the Series 7 outline says that Sea Devils weren't there, instead a different monster was featured. Roberts later described the episode as "Nuts In May on Alzarius" Nuts in May was a Mike Leigh comedy about a slightly dull married couple (Craig and Sophie?) who try to go camping, but keep having their peace interrupted, often by the husband's jealousy. It may have been cancelled due to James Cordern's rising stardom in America. From what we can gather, it seems to have been replaced with "Journey to the Centre of the TARDIS" Series 8 -Strax on Trial by James Henry Detailed here http://jamesandthebluecat.blogspot.com/2018/01/always-spell-check-your-email-headers.html Briefly, James Henry (writer of Green Wing, Campus and Smack the Pony) was asked to pitch stories for Series 8. Eventually Moffat asked him to develop one his own ideas, where Strax is kidnapped by his fellow Sontarans, taken back to his home planet, and put on trial for helping humans and the Doctor. An outline was written (read the blogpost) and it appears it was in competition with "Mummy on the Orient Express" and "In the Forest of the Night" for the final two slots. For various reasons, those two episodes were chosen instead. Series 9 -Vampire story by Paul Cornell Paul Cornell was asked to come in and submit ideas for Capaldi's first series. One story idea was for the Doctor & Clara to encounter a community of peaceful vampires in London and for the Doctor to get bitten and become one. The story was a sort of inverse 'Human Nature', going with the idea that this was to be a Doctor who couldn't quite be trusted. This story idea was accepted and could've been made for Capaldi's second season (per Cornell's reddit AMA) but it was never developed further than a one page outline. Series 10 -Jamie Mathieson's New Monster In 2015, when Moffat was first talking to writers for Series 10 episodes, he told the Radio Times "[Mathieson] has just been in and pitched a brilliant idea, a brilliant new monster. I just read his first pass at a storyline for that and I’ve no idea where we’ll end up going with that story. But that’s him. Being Jamie, he came in with 20 ideas and this one is just a belter" Early next year, Mathieson told a convention he had received an email from Moffat beginning "I can't stop thinking about your monster" However, in a 2017 DWM, Moffat reported that although they had tried to make Mathieson's monster story, they'd never managed to get the script to work, Moffat thought that it would still make an amazing horror film. Instead he asked Mathieson to develop another different story based around astronauts. -Sleep No More 2 by Mark Gatiss When planning his story for Series 10, Gatiss originally planned to do a semi-sequel to "Sleep No More" He told the Radio Times "I had this idea [that] I'd like to do the double in a kind of Yeti way, to have two stories about the same monster.”  "Although it was still in space, 'Sleep No More' was originally going to be on a trading floor; it was a stocks and shares thing, with these executives who were trying to stay awake in order to be more productive...I thought there was something in that, and actually maybe I could do a modern day one, set in the City, where they’d invented the same process but actually thousands of years earlier, and it had the same effect.” So the story would have been more of a prequel, set in Modern day London, The Genesis of the Sandmen. Gatiss said he abandoned the episode when he realised that this could be his last Who episode, so he asked instead to write the story he'd always wanted to do: Ice Warriors on Mars. -Pride & Prejudice & Daleks by Paul Cornell Paul Cornell was again asked to submit ideas for a later Capaldi series. One idea he developed, involving Daleks in the Land of Fiction was paid for because it was similar to an idea another writer was working on and they wanted to be able to use his ideas (this is standard practice with writers) However the latter story was never made. List of writers that were commissioned, but we still know nothing about their stories Series 3: Matthew Graham (possibly the man who can drain color that he unsuccessfully pitched for Series 2) Series 5: Rob Shearman, Jack Thorne, Amanda Coe Series 7: Tom MacRae, John Fay, Jack Lothian, the mystery original writer of Series 7b Episode 2 Series 10: Russell T Davies (Moffat said at Cambridge that they had a story all worked out, but then he became too busy) At some point during the Steven Moffat era, Charlie Brooker & Jed Mercurio were asked by the showrunner if they wanted to write Doctor Who stories. However Brooker was too busy & Mercurio wasn't interested in 2018 acclaimed writer Sally Abbott said that she worked on a Doctor Who story for several months, but wouldn't say more except it was "a few years ago" Paul Cornell has also said that around 2011/2012 he worked with Caro Skinner on another TV Doctor Who spinoff, which he's going to discuss on his newsletter at a later date. So if you want to read about that in full, I encourage you to subscribe https://paulcornell.us17.list-manage.com/subscribe?u=198e8a011b70a7fa79dd704d6&id=de506d08cb)

to those of you who are on gb, here’s a direct link to the post: 

Captain Marvel Didn’t Need A Subplot About Sad Familyman Pain: A Very Late Captain Marvel Review

So I finally saw Captain Marvel last night  (like a week ago now but it was the Tuesday before Endgame came out and then this sat in my drafts folder for days and days) - yep, down to the wire almost - so I’ve obviously missed all the Super Important Captain Marvel discourse that Tumblr prattled on about: still, I’ll add my thoughts to the pile.

An incredible cast with great chemistry can do nothing to fix one of the blandest scripts since Doctor Strange, which at least had imaginative vistas and unusual set design to carry some of the story-telling weight. Captain Marvel is possibly the worst-looking Marvel film: at the very least I am confident it is probably the worst-edited, and unquestionably the worst-lit film in all the Marvel canon. Captain Marvel almost consciously doesn't seem to want you to see anything in the movie, going out of its way to shoot scenes at night, in boring and dark spaceships, and in sandstorms at night on dark planets. Lousy fight choreography, coupled with rapid-fire edits with lousy coverage, made the film’s frequent hand-to-hand combat scenes visual nightmares. The worst offender is probably Danvers’ escape from the Skrull ship, in which basic shot-to-shot continuity is lost. The action becomes a literal blur as an anarchic assembly of seemingly-random coverage is cut together to create a confusing mess of movement. A fantastic late-film aerial dog fight and an incredibly powerful 'gloves come off' space sequence make the movie's last twenty minutes its visually strongest, but can't repair the damage done by the previous 90 minutes of blur and uncertain scene geography. (Rogue One has this exact same problem viz. rear-loading the entire movie onto the last twenty minutes.) The movie is at its best when it chucks the undeveloped plot out the window and just lets characters talk to one another, revealing their warmth and great on-screen chemistry, making otherwise forgettable dialogue work through great delivery and comedic timing. This is how most MCU films work anyways: good-to-great actors take weak dialogue and make it work through talent and charm. Off the top of my head I can’t think of any dialogue in the MCU that’s good for reasons other than excellent delivery: Marvel doesn’t seem to care much for writers who have a grip on the craft of dialogue.

The moment the plot reasserts itself, which usually means pretending that anyone cares about Jude Law's one-note bad guy, anything good about the film disappears. There's the bones of a great movie here hampered by incredibly poor framing decisions. Rather than reduce the flashbacks to five-second bursts of mental confusion, a better version of the film would have had two parallel stories A) Carol's quest to become a great pilot while fighting against prejudice and B) A present-day fight to regain that past. As is, the film makes the pretence that it has a feminist theme about overcoming patronizing men, but in practice this is introduced through jumbled flashbacks at the start of the film, essentially dropped for the rest of the run-time, and suddenly re-introduced at the final moments with a triumphant declaration of "I don't need your approval." Had the movie spent any of its middle running time acting like Carol was being patronized by anyone, this might have carried more weight. However, perhaps unwilling to make Nick Fury seem sexist in any way, Carol spends most of the movie surrounded by completely supportive people who do nothing but tell her how great she is. A single shitty stranger on a motorcycle with four lines of dialogue does not a 'triumph against chauvinism' narrative make. Even Jude Law's villain seems to be holding Carol back largely out of a need to follow orders and make sure her brainwashing was working - not out of any chauvinistic impulses. You could make the argument that the brainwashing is an analogy for the way patriarchy brainwashes women into accepting false limitations, but the movie isn’t that subtle: it wears its themes on its sleeve. Besides, you don’t get the sense that the Kree are doing anything out of gender motives - frustrating given that neighbouring franchise Guardians of the Galaxy has proven time and time again that you can still fo Asshole Space Chauvinist  without detracting from the heroism of the leading female. (Well, sorta. Guardians 2 does this much better than 1). Part of the problem is that Jude Law spends most of the movie on a ship waiting to get to Carol and having exposition-only phone calls. We get very little sense of Carol's relationship with him outside of the opening punch-up in a dojo - and the weakness is reinforced by Law’s character insisting only that Carol isn’t ready yet to do various things. This could work - there’s more to sexism than blunt and obvious HURR DURR WYMINS CAN’T DO THINGS declaration, but the the narrative repeatedly demonstrates that Jude Law is correct. It takes the whole movie for Carol to learn how to take her own breaks off. Which is a serious problem when she confronts the villain insisting he’d been holding her back. Not... not really, Carol. At no point in the movie did you seem like you were holding back because Jude Law’s voice was in your head telling you you weren’t good enough. You didn’t do X, Y, Z things because you just didn’t know how to do them, and you needed more experience. Jude Law spends the whole movie... not being wrong? It’s an issue. So when Carols stands there and says ‘I've never needed your approval” or some-such it’s great on a thematic level to see a female superhero so utterly reject the so-called necessity of some kind of male mentor (and if nothing else everything Carol learns in the film she learns on her own) - but it’s nonsense in the context of the film itself, where Carol spends most of it ignoring anything Jude Law says to her and doing her own thing, It weird to have her reject a man who has power over her - when he has had no power over her since the pre-credits sequence. She doesn’t listen to him at all the moment they go on their first mission. And, again, despite the text of the movie that framing suggest that Jude Law is not wrong about her not being ready to do the Light Thing until she was ready to do The Light Thing. A better movie would let Larson’s great chemistry with Lashana Lynch sing. I was so hyped going into this movie because Larson was quoted as saying that the “real” relationship of the movie was between Danvers and Rambeau but it’s... it’s not. Maybe in the script Larson originally filmed, maybe it felt that way on set, but if that was the case then it’s completely lost in the edit, where Rambeau has a nice through-line about regaining her place as a pilot but whose relationship with Danvers is mostly relegated to being another “no you’re super great Carol” hype man. Her best scene - where she and Carol sit down and she says how hard is was to lose her best friend - is undermined by some of the most mawkish music ever inflicted on a Marvel film; all the power of the acting  marred by a track that sounds like it came out of All My Children. In a better movie we’d get to see Carol live her life as a woman triumphing in a sexist airforce - half the movie should be flashbacks that build to that fatal, final flight. Danvers and Rambeau meet and crush on one another, mutually crush on Annette Benning (because god-damn), fly planes, fly better than anyone else flying planes, and do karaoke together to forget all the shitty airforce dudes in the lives who resent their good, good plane flying. This shitty people might have identities as villains and maybe do double-casting with Jude Law so we can see the parallels in her old life and her new life instead of pretending for an hour that Jude Law is her friend - like hell, movie, we’re not stupid, that’s not a shock. You cut between those scenes and modern Carol - and you do Good Writing Stuff like make New Carol a different person than old Carol: more timid, more cowed by the brain washing, more subservient to this guy who feeds her approval and virtue. You know - the stuff you do when you want to tell a movie about gaslighting like actually feature gaslighting. And we, the audience, who can see old Carol and how incredible and tough and take-no-shit she was, stare at the screen with burning eyes, hating Jude Law’s guts and waiting for the moment Carol beats his shitty ass into the ground and smooches Rambeau. And we see that Carol come back - fighting and clawing against this brain chip. And maybe the Supreme Intelligence could actually be in the movie as a villain like the movie seemed to want, instead of a brief cameo at the start of the film and then a baffling return at the end as some kind of ‘final boss’ that we don’t give a damn about because they sat out the entire movie. The film should come to a head with the crash of the experimental jet coinciding with the moment Carol remembers it in the present - maybe we take it a step further and use that great Skrull framing device at the start of the film: the past and the recent present align in the actual-present in the Skrull machine as Carol both remembers her old life, realizes the Skrulls are just trying to help her, and wakes up. Her eyes Do The Thing and she leaps out the back of Rambeau’s plane and blows the Supreme Intelligence’s armada up (not Ronan, because nobody gave a shit the first time why would you introduce a nobody like this instead of the person you want to be the Big Bad in your movie?) like a badass just like she does in the current film and then beats the shit out of Jude Law for some serious emotional catharsis. A casualty of this would be less screen time for Samuel L. Jackson. Who gives a shit? This is Carol and Rambeau‘s movie not Scary CGI Plasticine Jackson and Really, Really, Really Scary CGI Plasticine Clark Greg’s movie. You might get less Ben Mendelsohn too. A shame but, and I can’t stress this enough this should be a movie about Carol and Rambeau and Anette Bening. Ben Mendelsohn’s need to reunite with his loving wife and daughter has no place here. Did not need a subplot about manpain.

Or, conversely, if you want a movie about a totally badass female superhero kicking ass then cut out the gaslighting plot entirely. Make a different movie. Go the Iron Man route where Tony Stark is allowed to be an egotistical badass throughout and nobody ever patronizes because we don’t write movies about men that way. Just do the same for Carol (but not literally, because Ant-Man already did “Iron Man But Again” and it sucked). Really: you want to write the great feminist superhero movie? Don’t make it about a woman’s struggles against shitty men. Just make it about an awesome woman doing awesome things and stop making The Woman’s Superhero Movie be defined by her relationship with A Man’s World (see also Wonder Woman and almost every period piece about a female character ever made). Stop Othering the woman in her own movie! Finally, Captain Marvel has one of the most generic and instantly forgettable scores, a problem with Marvel generally but actively noticeable here as scenes with good acting are ruined by saccharine music like a bad soap opera. Captain Marvel is a mediocre and forgettable film, another in a long line of movies I got hyped for as some kind of ‘feminist masterpiece’ and discovered a lot of the same old shitty, lazy superhero tropes with the clunky addition of what a boardroom of executives think constitute feminist themes according to their quantitative marketing data. I will say for the eight year old girls out there it was a powerful movie and they were inspired seeing a woman superhero and I won’t take that away from then or pretend it’s not great. But they could and deserved a much better version of this movie - one in which that unquestionably glorious fuck-shit-up scene where Carol smashes through a battle fleet like it’s fucking paper because fuck you I am the biggest badass this franchise has ever seen Thor got punched by a star once who cares watch me atomize a dreadnought with my face! was matched with the same level of care elsewhere in the picture - so when Danvers lands and beats the stuffing out of Jude Law we’re not struggling to remember his character’s name which I haven’t successfully done once this entire review. I have yet to see Endgame but I have high hopes that - much like Paul Rudd and Benedict Cumberbatch - once out of the confines of her own under-written movie Brie Larson will get a chance to really shine, because we don’t get to really see Carol Danvers until that one great ship-smashing scene and that’s a pity. We should have had a chance to know the Captain Danvers of the USAF and to be able to mourn her even as we celebrated the emergence of the new Space Badass Danvers - who isn’t the same person, who can’t be, but is something greater than before. (For the record this isn’t a bad movie. It really is just a mediocre one. It’s far, far from the MCU’s worst film. That would be - despite my biases screaming ‘Ant-Man and the Wasp’ - still probably Thor: The Dark World, which you likely forgot existed again.)

Viddying the Nasties #24 | Shogun Assassin and the Lone Wolf and Cub series

I’d first seen Shogun Assassin years ago in bits and pieces, when I first became aware of what exploitation movies were. At the time its mixture of splatter and swordplay seemed too awesome for words, but I had no real concept of its source material and cultural standing other than the fact that this was a movie that had been a hit on the grindhouse circuit. Fast forward a couple of years and I would revisit the movie again, this time having gotten somewhat into hip hop and having listened to GZA’s Liquid Swords. This time what struck me was not just the action but the atmosphere of sadism - this is a movie packed with some truly ice cold shit - and how that lent itself to the aesthetic of that record. But this was also when I learned that there was more to the story, and that Shogun Assassin was not just something that materialized out of the ultraviolent ether but was indeed recut from preexisting movies in the Lone Wolf and Cub series from the early ‘70s, based on the manga by Kazuo Koike. Sadly at the time Shogun Assassin was much more available in North America (in a sharp looking DVD and Blu-ray release from AnimeEigo) than the originals (the box sets were long out of print) so I was unable to dig further at the time. Fast forward a few more years and the good people at Janus Films decide to give the entire Lone Wolf and Cub film series plus Shogun Assassin some handsome restorations and release them as part of the Criterion Collection. Coming off of the Stray Cat Rock series and still in the mood for some Japanese action movies, I decided to finally get through this series and, at the very least, see how they compared with the version I’d been familiar with all these years. Thankfully, they happened to be pretty damn good.

The overarching plot is as follows: our hero Ogami Itto, the shogun’s executioner, has his wife murdered and is falsely accused of wanting the shogun dead by a rival clan, and so is forced to flee with his infant son Daigoro and take up life as an assassin while seeking revenge, living on “the demon way in hell.” Now, if I’m being perfectly honest, having rushed through the six movies in a few days, I have to admit they blend together a bit, so I’m not necessarily going to delve into plot details of the individual movies in depth. This isn’t necessarily a criticism, as I suspect it’s a bit by design. That overarching plot I described is introduced in the first film and returned to periodically over the course of the subsequent movies, but a large portion of the series is spent on the assassinations our hero is hired to perform, side quests to the main revenge quest. The films were all scripted by Koike, the author of the original manga, and I assume they are faithful to the source material, so perhaps those who have read the manga might find the plots easier to distinguish. The sixth and final film was made before the manga was completed, which leaves the series feeling a touch inconclusive as it doesn’t tie up the overall plot.

The first film, Sword of Vengeance, sets up not just the plot but also the pitiless world the films reside in. This is a movie that opens with Itto executing a baby(!) on the orders of a paranoid shogun, making it clear that traditional ideas of justice don’t apply in this universe and that Itto’s “heroism” will definitely be of the anti-heroic stripe. But the movie also eased me into the rhythms of the overall series, which are a lot more meditative and a lot less frantic than I’d expected, while still dishing out generous helpings of blood and steel. The action here is not distinguished purely through choreography but also the structure, the blood sprays serving as gory exclamation marks. There’s also a fair bit of handheld work reminiscent of early Chang Cheh - I understand filmmakers in Hong Kong at the time were influenced by Japanese samurai pictures, and perhaps the influence was going ways.

The second film, Baby Cart at the River Styx, pushes even further in this regard, conceiving its action as a series of gory non-sequiturs, images of blood pouring through walls or through desert sands and characters being chopped into stumps or having their heads split open having been etched into my memory when I first saw them edited into Shogun Assassin all those years ago. This is probably the best of the movies, packing in the most incident but also finding some unexpected tenderness in their harsh worldview. Itto encounters a female ninja sent to kill him, but she ends up reassessing her own capacity for violence after being moved by his relationship with Daigoro, and in the end elicits a rare moment of mercy from Itto. It’s a character arc that could have been corny but feels well earned in the otherwise unrelenting cruelty of the series. However, the scene were Itto forcefully has them warm each other up to survive is still hilariously uncomfortable no matter which cut you see. There’s also the underrated delight of seeing Daigoro react to different animals.

The next few movies continue this dynamic, with Baby Cart to Hades and Baby Cart in Peril pitting Itto and Daigoro, respectively, against a disgraced samurai and a tattooed female assassin with a tragic backstory, both of whom reassert a sense of honour in their confrontations with our heroes. They also have Daigoro becoming a more active participant in their survival, with his carriage being revealed to have additional deadly capabilities, best demonstrated when they machine gun hordes of men while taking on an entire army in the climax of the third movie. The moral complexity of the series peaks with the fifth movie, Baby Cart in the Land of the Demons, which has Itto being hired to assassinate an infant princess and hesitating before killing another target. That movie also has Daigoro falsely accused of being in cahoots with a pickpocket and the baffling sight of the police trying to beat a confession out of a toddler. This specific strain of ridiculousness is absent in the final film, White Heaven in Hell, but otherwise that movie goes out with a bang, trading the jazzy sounds of the earlier movies with a score that suggests James Bond meets Shaft, sending reanimated assassins after our heroes, and pitting them against an entire army in a climax whose virtuosity is matched by its body count. The wintry setting of that action sequence and the soundtrack suggest that the filmmakers wanted to outdo On Her Majesty’s Secret Service of all movies, and the carnage concludes with the bodies of Itto’s foes scattered over a snowy hillside, like black pepper on white rice. Yet at the end, even with the story not really being over, the movie reasserts Itto’s bond with Daigoro, ending on a tender note that brings nuance to the butchery that preceded it.

Which brings us back to Shogun Assassin, which combines sections of the first movie with the bulk of the second, trades the original score for a cheapo synth one and a well done English dub, and greatly simplifies the story, excising the specific clan conflicts and adopting a more generic story of our heroes facing off against the shogun. What’s lost in the translation are the complexities in the series’ worldview, with this new version less eager to challenge us to contemplate the violence and the characters’ relationships and preferring to serve it up for our giddy enjoyment. But what does come through or is perhaps even enhanced is the outrageousness of the violence and the non-sequitur-style delivery, coming across as even more frenetic in this faster-paced version. On the level of pure enjoyment, this ranks with the best of the series even if it lacks the richness of the originals, and there’s a reason its blend of ultraviolent samurai imagery has proven so iconic. Whatever entry or version you happen to watch, there’s no denying the mix of artistry and entertainment value that defines the series.

Star Trek: Discovery - ‘Such Sweet Sorrow, Part 2′ Review

"Let's see what the future holds."

By nature I love brevity: Star Trek: Discovery delivers on the promises of the season in its dramatic finale that warps off into Season Three ready to try something new. My predictions were mostly correct, with a few surprises. Some of those surprises were substantially more welcome than others.

Last week's episode made us a whole lot of promises and set up a lot of things to happen here. All the emotional stakes of that episode hinged on the fulfillment of those promises and set-ups, though, so no matter what, if they didn't follow through we were going to feel cheated. I went into this finale with a small bit of trepidation that they might fake us out and not deliver, but those fears were happily quashed. If nothing else, I want to applaud the show for delivering on its promises, and for doing so in a way that provided entertainment and diversion for an hour and left me feeling mostly satisfied.

But, of course, I do have to talk about what went wrong. Most of this episode's problems, and indeed the whole season's problems, are the result of logical inconsistencies. For example, if they had a map of the red bursts the whole time, why couldn't they figure out where each burst was going to appear? Even if they didn't know which burst corresponded to which one on the map, after the first three they should have known the location of all seven. That was the main thing about the season as a whole that bothered me.

The biggest and most egregious problem in 'Such Sweet Sorrow, Part 2' is the entire situation involving Cornwell and the torpedo. How contrived can you get, really? This seems to me to be the most stupid and pointless sacrifice since Captain America: The First Avenger, and it's certainly the dumbest thing this show has ever done. I can't even begin to fathom why anyone would think that little tiny door could do anything at all when we were told it would take out four decks/half the ship. If the door is so powerful, why isn't the whole ship made out of the same material? How is the window still intact after the blast? For that matter, why the actual heck did they put a window in a blast door? Even the reason Cornwell decided to stick around in that room with the torpedo was hopelessly contrived. Pike made some very good points about time travel and his future, and she dismissed them for no reason at all. Very disappointing and completely unnecessary. Jayne Brook and Admiral Cornwell deserve way better.

The second major issue involves Controlland and his death. First and foremost, if the Control AI was destroyed when Georgiou killed it, why do they even still need to go to the future? If destroying Control was as easy as magnetizing a whatever for a few minutes, why not focus your efforts on that rather than the time travel stuff? They even had a golden opportunity to solve all these problems and bring back some nice continuity at the same time. Why not just have Georgiou use the spores to send Controlland somewhere else, like Lorca did with Burnham way back in 'Context is for Kings'? Plus, the magnetizing the whatever solution is really dumb and sounds contrived.

All this makes it sound like I hated 'Sorrow II.' I didn't. It was largely entertaining, and despite those two major things that grated on me and a few other minor gripes, the finale did its job well. It managed partly to earn the melodrama of 'Sorrow I' and to wrap up the season's arcs in a neat and tidy manner. Let me dive further into the things I liked.

Firstly, Olatunde Osunsamni's direction was on point this week. His stylistic, swooping camera and weird, dynamic directorial choices are actually really well-suited to big action setpieces like this one. While I may not like his apparent vow to never allow the camera to be still at any moment, even in dialogue or other low-energy sequences, Osunsamni gets to infuse his energy here into a show that warrants it. On that same note, all the action was quite good and interesting to watch. The production values on this show continue to be absolutely through the roof, and it works really, really well.

I also loved, though it can very easily be dismissed as fan service, the ending with Pike, Spock, and the Enterprise. The show is certainly leaning into fan hopes for a show centered around them, for no clear reason. Clearly, they could very well do something like that, and it would be highly anticipated and probably very well received. It's ultimately up to the producers, but I really think that if they do intend to do it, it will have to be really far down the pipeline. If it were coming in the near future, we'd have heard something of it by now.

The portion of the end that deals with Discovery's supposed breaches of canon was a long time in coming. I think I'd made my peace that time travel would fix it all about a month ago, so bringing my feelings about it back is a bit difficult. If the writers had all this planned from the beginning, then kudos to them. If not, then at least they found a decent way to fix everything they'd broken. One of the things that's in the grand tradition of Star Trek is taking mistakes and discrepancies and using them for the benefit of later stories, so I'm quite pleased that this occurred here. Did they have to force it because it was necessary for the show? Yes. But let's not lose sight of the fact that it was necessary for the show.

A few surprises lurked in this episode, even though the resolution went more or less as anticipated. The first of these was that Georgiou was on the Disco as it went off into the wild blue yonder. I had expected, since Michelle Yeoh's Section 31 series is coming, that Georgiou would be left behind in the past in light of that. Not so here. This raises many questions about that Section 31 show, what Yeoh's role in it will be, and how she will play into DIS Season 3, so many that I won't go into them all here. Suffice it to say, I was surprised, and I will be interested to see where it goes from here.

Secondly, I was surprised at the arrival of everything the rest of the season had done, now coming back to help the Disco accomplish its mission. Although I suppose everything did have to be a part of a grand design like Pike and Spock have been saying all along, I was not expecting Siranna and the Kelpiens in particular. A nice touch, certainly, as was the timely arrival of L'Rell and her Klingon armada. Speaking Klingon under heavy makeup does tend to work much better when it's being yelled angrily at one's enemies in the heat of battle than it does when discussing Imperial politics while sitting at home. Plus, Mary Chieffo got to say 'Today is a good day to die' before the show left her behind.

So overall, I think I liked it. It did what it needed to do, and not a whole ton more. What more it did was mixed material, but so is this show in general. I left it feeling satisfied, and even excited for the road ahead. Take her out, folks. Let's see what she can do.

Pensees:

-Holy crap, that's a lot of shuttles. Voyager's jealous.

-I half expected Reno to die, and Po to go to the future. I'm not sad that those things didn't happen, though.

-Keep on being sassy as heck, Dr. Pollard.

-I thought Burnham and Spock's goodbye was just fine the first time, in the shuttlebay. At the end of the episode it was terribly overdone, although Ethan Peck did his darnedest to help it along.

-Is Anthony Rapp's return to the show for Season Three in doubt? They left his life still in danger at the end of the episode. I hope not; I like Stamets. His resolution with Culber felt a little out of place amid the chaos of the episode, though.

-Lots of visual cues to Star Trek: The Motion Picture in this episode, from Burnham's travel through time to the same streaky-light wormhole effect when the ship does the same.

-That really is a dang useful blast door. Voyager's jealous.

-Number One STILL doesn't have a canonical name. Why couldn't she just have given it in the debriefing scene. It's not hard!

-So Tyler has been made the head of Section 31 for now. I guess that means he'll definitely be in Yeoh's series, right?

-Clean-shaven Spock in uniform was great to see, and the shot that panned out from the bridge to the ship in space was a definite nod to 'The Cage.'

-Props to Jeff Russo for his awesome mix of the classic TOS theme and the DIS theme. I really like the music of this show in general.

Quotes:

Po: "First, I invoke diplomatic immunity for stealing this shuttle."

Reno: "I'm going, I'm going! Get off my ass! Sir! Get off my ass, sir!"

Saru: "Promise me you'll be safe." Everything: *continues exploding*

Burnham: "So you're asking me to take a leap of faith." Spock: "One that is only logical."

Controlland: "Where's my data?" Nhan, searching for the most useless response possible: "Hell!"

Controlland: "This doesn't have to be this hard!" Georgiou: "Not hard is boring, and I hate boring."

Number One: "Plans A and B didn't work. This is the Hail Mary part of the operation."

Burnham: "Find that person who seems farthest from you, and reach for them. Reach for them."

4.5 out of 6 really useful blast doors.

CoramDeo is a reviewer, not a bricklayer.