Walker S3 Discussion

[Batmom]

When is the next episode airing , all I see in the schedule thread are little grey boxes that don't help me at all.

[Trix]

It's been ready to go since last night, just waiting for an Admin to approve the post on the new website.

Would be awesome to hear some of your thoughts on the season so far

[Vaughn]

I didn't see it in the admin panel last night. Will check again when I'm home.

If you're only seeing "grey boxes" it sounds like the images are filtered/blocked.

[Batmom]

It's been ready to go since last night, just waiting for an Admin to approve the post on the new website.

 

Would be awesome to hear some of your thoughts on the season so far

Well for a start I'm glad that they toned down the use of "THE VOICE" a little bit as it was getting a annoying.  It was just a bit overused.

Other than that I have enjoyed the series a lot so far and can't wait to read the rest.

Shame poor Flame and for that matter Chloe episode 10 was just a kick in the teeth if ever I've seen one.





EDIT: Its only some of the pictures that I can't see, I think my Internet Explorer is just retarded ( using IE6 at work, stop laughing)

[Vaughn]

Latest episode is up on the website now, by the way.

Remember to post in the readership drive thread to add what you've read this month! (if you haven't already)

[Adam]

And there's the new episode up.

And Suhelen, welcome to the party! I had no idea you were reading! That's great news, I look forward to hearing any thoughts on the series you might have.

[Pete D. Gaskell]

UNTIL THE STARS TURN COLD

Following on from a rather evocative cliffhanger last week, this episode grabs the bull by the horns and doesn't let go for an instant.

There's a real sense of movement about this episode - there's a lot to cover, and it covers it efficiently and well. Tony's scripts are usually fast-moving anyway, but this one pushes the pedal to the metal.

Where it gets extra points is in just how far the envelope is pushed here. Tony really has licence to go as far as he wants with these characters, and it's certainly seen here why that licence is given.

Never before have our heroes strayed so far into dark territory - it's frightening, it's shocking, and yet it's entirely plausible. They're pushed to their limits here, so they almost do the unthinkable. The rather 2D character so far of Mara Ashcroft is brought right into the thick of things, and she becomes almost a sympathetic villain when we see her plight.

Tony's worked a masterpiece here - turning this bunch of characters into living, breathing people, all of them with their own motivations, desires, and desperation to do what they think is right. Everyone gets a moment or two to shine, including the couple of DSR characters, who, for once, don't feel shoehorned in.

It's testament to Tony's writing of Walker that this isn't easily his best episode he's written for it - but it's certainly up there. Easily one of the best episodes the series has ever produced.

A thrilling, emotional, dark character drama with plenty of action thrown in - THIS is what Walker revels in. Top marks.

Character of the Week:
Alec. Tough decision - there's so many to choose from here - but Alec takes top honours, simply for revealing the level of determination he has, and how his principles get altered slightly when Chloe's involved.

Quote of the Week:
Boone: Now drink this.
Neriah: (takes the bottle) Why?
Boone: Because it tastes nice. (off her look) And you might want to be smashed for what I'm about to do.

Rating:
9/10

[Tony O'Stark]

Cheers Pete, a very kind review there.

Must say, I'm damn proud of this one. Some huge events happening that call back to characters/plots in DSR, making it an extra thrill for me. But it was just a joy to write and one of my best Walker experiences yet.

Almost, infact, as fun as next week's episode...

[Pete D. Gaskell]

And, once again, another completely different type of episode for you to explore with Walker - which I think showcases the variety the show can pull off!

[Tony O'Stark]

Yeah the next one is VERY different. Almost experimental in a way.

Can I top my last two Boone episodes? You decide folks!

[ChrisH]

Cheers Pete, a very kind review there.

Must say, I'm damn proud of this one. Some huge events happening that call back to characters/plots in DSR, making it an extra thrill for me. But it was just a joy to write and one of my best Walker experiences yet.

Almost, infact, as fun as next week's episode...

Agreed - it's one of the most fun-to-read and interesting Walker eps I've read.

[Pete D. Gaskell]

THE RESTORATION OF JOHN HENRY

It's a well-known fact in Walker fandom circles (we have circles!) that "The Boone Saga" consists of two of the best episodes the series has ever produced in "John Henry Boone" and "The Battle of Sinners and Saints" - so how will this third installment fare in comparison with those?

I have to say, in all honesty, that this one is a bit of a disappointment by Tony's high standards. The main problem with this is that the main plot meanders far too much - and is quite vague. What's the main story here? The connecting throughline? Is it Boone coming to terms with his role in society? Or learning to accept his daughter for who she is? Or Absalom Cain's return? Kingdom Come? All of these story elements are thrown into the melting pot, but they're vying for space rather than complimenting each other.

You could argue that the storyline is based on the reforming of the Council of Eight, and what effects that has - but as there's no real explanation as to what the Council actually do, the impact of this is sadly lacking.

There are other issues, too - the use of flashbacks, which are normally integral to compliment the main story, are here rather arbitrary in their nature. The flashforwards, on the other hand, are effective - except for the rather strange moment with a wildly-out-of-character Future!Alec.

I have to criticise the writing style here as well - there's far too much telling rather than showing in the scene description - the number of uses of "clearly" and derivatives borders on the patronising. I'd prefer to see subtle moments of emotion and character displayed in dialogue or actions rather than explanations.

Not to say this is a bad episode, though - there's several great moments, such as Boone's final decision, which was absolutely perfect, the aforementioned flashforwards, and the great fun of the morning after banter with Alec and Chloe.

I just feel that this episode adds up to less than the sum of its parts, which is a real shame, considering the pedigree and events depicted.

Character of the Week:
John Henry Boone. Has to be. Once again, Tony writes him perfectly in character, and there's several great moments as he dominates "his" episode once again.

Quote of the Week:
Boone: You'd have a drinking problem if you lived in Whitby.

Rating:
7/10

[Tony O'Stark]

I'm gonna take issue with a couple of things here, Pete, so forgive me - and given you read this as a producer Backstage months ago, why didn't you say all this then? This is why I don't like people who write for shows reviewing them publically myself.

Anyway.

THE RESTORATION OF JOHN HENRY

You could argue that the storyline is based on the reforming of the Council of Eight, and what effects that has - but as there's no real explanation as to what the Council actually do.

I'm not sure that's true.

Hasn't Adam on numerous occasions explained the house system in the UK in Walker? The Council is a new part of that mythos, but I think here it's pretty obvious that it's a unified central 'government' of sorts for each vampire house in Britain. And when in the alt-future they go public, they become recognised as a political power in the British Isles.

The flashforwards, on the other hand, are effective - except for the rather strange moment with a wildly-out-of-character Future!Alec.

Out of character how?

The world has just ended in many ways, the woman he loves/his best friend are dead, and he has no one else to turn to. For Alec to be the same man we know now after all this would be OOC - he's a broken Alec here and that fits, IMO.

I have to criticise the writing style here as well - there's far too much telling rather than showing in the scene description - the number of uses of "clearly" and derivatives borders on the patronising. I'd prefer to see subtle moments of emotion and character displayed in dialogue or actions rather than explanations.

Examples? I'm not sure to what you're referring to here.

Rating:
7/10

I'll take that.

Bit picky a review, this, but I agree it's probably the least effective Boone ep yet. That said, I'm still very proud of it.

Cheers for the candour. 

[Pete D. Gaskell]

Feel free to challenge me on any points I've raised, Tony - it is, after all, your episode!

As to why I didn't raise some of these points earlier, hindsight and distance do change viewpoints - a second read a few months further down the line, with more time to digest the material, can lead to new thoughts and quibbles emerging in my mind.

Although, if you believe I could have raised some of these points earlier, all I can do is apologise.

To details!

Re: The Council of Eight - yes, I understand the concept behind them, and it certainly is full of merit - but my argument is that their importance to the script is not given enough lip-service in the episode to explain how crucial their role is for Boone and his journey.

Re: Future!Alec - once again, I get that he's broken, and a defeated man - and for the most part that's played well, but it's just the moment where

(click to show/hide)

he starts to cry

that just feels out-of-place, even given his situation. But that's a matter of opinion, I suppose.

And finally, re: the "telling rather than showing" - some examples include:

She's sleeping but it's disturbing. A nightmare gripping her, clearly. (The previous explanation of her tossing and turning violently and the disturbing line is enough without the added explanation)

Boone stops and turns toward the phone on the side, visibly surprised. He clearly doesn't get many home phone calls. (Once again - it's implied in the first line, doesn't need to be spelled out, in my opinion)

Chloe glances at Alec after she speaks, smiling at him. He discreetly returns it. Their minds aren't on work, clearly. (The "clearly" stands out again)

Torn, he's about to follow her, but instead looks back at Absalom as the adorning continues, clearly wondering - is his daughter right? (Classic example of telling the reader what they should be thinking in the description rather than letting them figure it out for themselves)

...an ancient-looking TEMPLE. It's clearly been there a very long time. (Again, it was obvious from the use of "ancient")

Apologies for coming up with these numerous examples - but when they appear with such frequency, it sets alarm-bells ringing in my mind.

Like I say, don't for one minute think that this is a bad episode, per se, it's just a bit of a letdown considering the previous episodes, which it can't help but be judged against.

[Tony O'Stark]

Fair enough.

I won't respond further because at the end of the day this is your opinion and I'm not out to change that. What I will say, however, is that I disagree on how far I went in guiding the reader through direction here. Some things can easily be read out of context without the availability of images. I won't apologise for ensuring the reader gets the point - I'd much rather them pick up on things than be left confused.

And I stand by what I said about producers reviewing publically. I'm dead against that and always will be.

[Monster Zero]

I think this is an interesting writer-y discussion topic to spin off, though - how much telling and showing to put into our direction, action and description. Some of us do a lot - I've started to try adding a little more - and I often see people get pulled up on having lots in. Be interesting to get people's takes on that.

Oh and REVIEW MY EPISODE AND TELL ME I'M AWESOME OR I KEEEEEL YOU

[Matt]

Fair enough.

I won't respond further because at the end of the day this is your opinion and I'm not out to change that. What I will say, however, is that I disagree on how far I went in guiding the reader through direction here. Some things can easily be read out of context without the availability of images. I won't apologise for ensuring the reader gets the point - I'd much rather them pick up on things than be left confused.

And I stand by what I said about producers reviewing publically. I'm dead against that and always will be.

Clearly.

[Tony O'Stark]

Don't you have a show to write, boy!

[Matt]

Don't you have a show to write, boy!

Clearly.

[Tony O'Stark]

Right, you're only allowed to use that word for the rest of the day!