bit of a selfish one because i personally love tv/movies and am ever curious as to how others concept their stories:
if your swtor canon had to end a book/season/section/movie/what have you on a devastating cliffhanger complete with all the bells and whistles of a distant release date for a follow up, what would it be? what characters are involved? what part of the story (canon or otherwise) is it part of? why does it hit so hard/what's the draw of it?
+ bonus: is there music that goes with it?
Val on the prowl! <3 I am stroking my beard, hum hum hum...
I really am more of a ‘let’s zoom in on one scene of a work and look at all the smells and sounds and ugly emotions there’ and that’s that. I hop around like this in the whole source material. So I can’t really say I have solid concepts with a plan and thought out order of things. But this ask is fun! I do have ideas. I have picked out two:
So, for a mega dramatic cliffhanger: The point where Faro breaks with the Empire during Zakuul’s invasion of Dromund Kaas*, and when Lana catches her and confronts her about it. I honestly just thought of that cliffhanger, the details are not all figured out, so some might be subject to change.
* I know Zakuul might not have directly bombed Dromund Kaas itself, because blockading it was enough. But um. Having too much fun right now. Maybe they destroyed some key structures like the Citadel as intimidation.
Faro is in the bombed halls of the Citadel’s Intelligence HQ, the building is on fire. Personnel has already long abandoned the building, she had only wanted to nab a few last things from there, her escape shuttle ready on one of the still standing platforms. But in front of the exit Lana had been waiting. Angry and desperate, disappointed and hurt. Faro’s greatest hold over her, the psychological manipulation, was less effective when she was caught red-handed like this. And also, she had no time for a longer chat, among the flames. So they fought, but Faro quickly finds herself on the back foot. She’s out of weapons, mostly out of poison, her voice is hoarse and almost useless in the smoke. Faro’s face is still in its desperation, Lana’s face is furious, both are glistening with sweat from the heat and exertion.
“It’s over, agent. Desertion from you – it’s inexcusable.”
Faro thinks she should beg, but she only manages this:
“I want to leave.”
She isn’t talking to the Minister, to her superior. She is addressing her words to Lana. She has made many mistakes, taken too many risks. Now the harsh hum of the red lightsaber in front of her eyes heralds their consequences.
Lana catches on and only gets angrier.
“You don’t just get to leave.”
Why does she feel like these are the only honest words her agent has ever spoken to her? This brilliant woman who doesn’t let anyone love her. Or at least, not Lana. Everything is falling apart. She doesn’t want to understand. Why did she keep clinging to her as if she wouldn’t let her down, too?
Lana raises her lightsaber, and its beam arcs down.
[Black screen. Show credits.]
unfortunately i dont have any music about it. You just get the regular end credit theme song (whatever it is) and are like wtf...
Hm. although. maybe that one.
Faro’s and Lana’s relationship needed to get to a breaking point. Their goals are too different. Those two are never on the same page at the same time. But they realize when they get to the page the other was on before. Their relationship is not healthy in that time, but it is significant anyway. They start to understand each other, but only belatedly and only too late. Still, Lana does not do what a Minister, or really any imperial, should do at this point. But that you only find out at a later date, when Faro shows up unexpectedly, in a completely different getup, lost in a crowd that is decidedly not imperial.
Number 2! My twist to the ending of Knights of the Eternal Throne is one of my favourites to wallow in (it can’t hold a candle to Ziost, bowing down to my queen).
Lana and Theron look to the future and note the different approaching threats, as they are wont to do as practised spies. But they are hopeful. Their position is a good one. They can tackle it. And there’s a party! Everyone is cheering and celebrating, drinking and dancing.
And Qyrhu leaves the festivities when no one is looking. The halls and passages of the base pass him by and they feel distant and unreal. Fake in their vibrancy. He reaches his quarters. Falters under the brunt of exhaustion overcoming him, like it has just waited for him to get somewhere unwatched. He disrobes slowly and mechanically. He keeps hold of the numbness that carried him through the day, even though terror creeps on him, just out of his field of view. Closing in. He lays down on the mattress of his bed, affects to sleep. Cracks his eyes open again. He sees his room. Like a prop superimposed over his eyes. Past that, he sees the endless void of space, the debris of countless broken things. He hears the wind blowing through tundra steppe, slowly chilling him from the inside out. He never left. He’s too scared to scream. He never left this place. And he never will.
And this is the last page. The only thing left are Acknowledgements (ack!).
And I thought how I would direct the movie/show version of the scene:
Qyrhu leaves the festivities when no one is looking. His relaxed face falls away to expressionlessness. As he walks back to his quarters in a deserted base the regular sounds get more echoing and weird, like he isn’t actually where his surroundings show him to be. It’s disorienting. Things are not as they seem, something is wrong. He reaches his room, enters, keeps standing in the middle of it, like moving is pointless now. There’s sound of wind now, wind steadily blowing through tundra steppe, for viewers having seen previous movies, they might even be reminded of another finale’s closing sound. The room gets dark around the edges, washes out into space and starlight, just slightly reminding you of the visual in the recess of Qyrhu's broken mind.
The screen gets dark, while somber music starts playing, a drawn-out despairing sound. The credits only show when the music changes and picks up, throwing us back as if we’re still a bit in battle, as if it has never left us.
Here's the vibe of a possible soundtrack to it, idk... it's not exactly it but eh
During the livelier part of the soundtrack there are drawn shots of the main cast, friends and foes alike, getting faded in and out one after the other so at least you get some serotonin from that lol (I do love it when they do that).
It hits because the audience would expect a hero’s feast, a cathartic joy and relief. But victory always has a cost. And this one’s cost, it dawns on you, is higher than anticipated. Also cool when you're not sure if what Qyrhu feels is the truth or not.