Mr. Goodkat wrote:As JQ has a toally different setting it's not really a surprise that it's not that much that went into it, except from the basic plot (a demon draining people's life force) with Katrina's name changed into Elise Linoir. There is also the Mansion with oberservatory and the drained victims are really depicted. Unlike Katrina, Elise can cast a spell on people in order to serve her and she needs a young woman for the ritual as she takes over the youth and appearance of the victim. The male victims are just snacks until the eclipse happens. Furthermore, she is referred to as "the demon" at some points instead of "the succubus".
I never liked Eclipse
much. The main thing I disliked about it was the friction between Elise and her equivalent to Otto and Laszlo, who've been combined into one character (which shows just how condensed and economical Eclipse
is compared to Succubus!
). I hated that she just straight up kills him out of pique, making him feel ultimately pointless, unlike Otto and Laszlo, whose ability to turn into gargoyles make them threats to the heroes.
Randomly, it just occurred to me that Elise's relationship with her servant in Eclipse
is pretty much identical to Marya's relationship with Sandor in the 1936 film Dracula's Daughter
, which may have been Glenn Leopold's intention. Except there, it comes to a much different end, with Sandor killing Marya after things fall apart between them, instead of the other way around.
That film also has a lot of other similarities to Succubus!
, particularly the fact Marya is pursuing a primary male target, with all other victims of a single gender are simply "snacks," to borrow your terminology. The main differences being Marya doesn't want to kill her target, psychiatrist Jeffrey Garth, and all her "snacks" are women.
Ty-Chou wrote:This is a reeeeally long summary and it makes me tired thinking about trying to cover every little thing I want to comment about so I'm going to do just a broad generalization.
One of the reasons I posted it in parts was to give people a chance to digest everything at what I hoped would be an even pace and post their thoughts about individual scenes as opposed to the full thing, in order to, well, avoid exactly the problem you face here.
Ty-Chou wrote:But there's so many more things I disliked about this. Granted, this is also a summary, maybe the script turned out better, but the story seems super fanficy to me.
I tend to embellish and oversell things a little so it's less of a dry summation. I just tried to make it fun.
Ty-Chou wrote:Not just all the mass-pairing going on
And we have yet another
person who objects to this aspect of the script.
Ty-Chou wrote:which is also a bit uncomfortable.
Why, exactly...? This is the second time I've seen someone use "uncomfortable" or words to that effect to describe their feelings toward the "date" portion.
Ty-Chou wrote:But Callie stalking Feral's personal life when A, it's none of her business,
I'd say she's pretty shrewd and genre-savvy enough by this point to be immediately suspicious that any new character is potentially trouble, but that's a bit meta.
Ty-Chou wrote:B, what exactly happened that made Katrina such a suspicious person in the first place?
My best theory is that it's because Katrina basically showed up out of the blue a few months ago and has been throwing her weight around, dazzling Manx with huge donations and pestering him to introduce her to Feral. Manx is blinded by his greed and Feral is blinded by his love, so perhaps Callie feels it's up to her to check the new arrival out.
Ty-Chou wrote:C, Callie, it is not your job to police Feral's personal affairs or investigate disappearances.
Like that's ever stopped her before. Heh. Callie doing things deputy mayors shouldn't normally do is something she did quite frequently in other episodes. To wit: she was at the museum in The Pastmaster Always Rings Twice
getting information for Manx's press release, even though that's something for a press liaison; she writes Manx's speeches in The Giant Bacteria
and The Ghost Pilot
, even though they have people called speech writers specifically employed specifically for exactly what their name implies; and she calls Dr. Sinian, just as she does here, for assistance about the Red Lynx in The Ghost Pilot
. She may be addressed as "Deputy Mayor Briggs," but it's always been clear to me that Callie is whatever the writers need her to be in order to ensure she remains involved in the story somehow.
Ty-Chou wrote:I love you, but why are you in this episode?
She's Callie and it's a SWAT Kats
Ty-Chou wrote:As far as Commander Feral, this doesn't feel like his episode. He's the one who's the victim of the villain, but I don't really feel like there's anything that focuses on him as a character that let's the audience get to know him more. He's just in the episode more because he was the focus of the villain this time. That's all. I feel like an opportunity was missed here.
It may not be "his" episode, but at least something is being done with him besides him shouting all the time. In fact, he barely ever raises his voice in the entire script. We definitely see a softer and more vulnerable side of him here.
Ty-Chou wrote:And that weird conversation where Feral accuses Felina of being mad that there's a woman interested in him. What kind of conversation is that to have with your adult niece? It's weird.
It's worth noting that in single parent families it isn't uncommon for the child - even a grown one - to be hostile towards their parent's boyfriend or girlfriend, viewing them as an intruder. Since Feral and Felina have an almost father/daughter relationship sometimes, despite being uncle and niece, it's conceivable Feral is misinterpreting Felina's objections to Katrina as being along similar lines.
Ty-Chou wrote:And then the henchmen just randomly bring a tied up Felina into the room at the end because why? So, so many things happen in this story for no reason.
Why does Mutilor turn the viewscreen off before the SWAT Kats have fully drowned in When Strikes Mutilor
? How is it that nobody at the hospital noticed that the "injured" elderly couple not only weren't injured, but weren't even elderly, in Razor's Edge
, when even the most cursory examination of them would reveal the truth? Why does Dr. Greenbox inexplicably do a one-eighty and become a raving screwball in Unlikely Alloys
was written at the same time as them. It was intended to be aired right alongside the other season two episodes, with all the same perils, pitfalls and shortcomings in the plot those had (and as noted they had them by the bushel). Did you expect it to be... better? Why? It is what it is. Despite some darker and more mature elements, it's still, at its heart, a 1994 SWAT Kats
episode, and all that that entails, positive and negative.
Ty-Chou wrote:I think there's a good idea in this lost episode, but probably the reason it hadn't made it to production was because the story still needed to be tweaked. However, it was fun to read something new to ruminate on the what might have been. Thanks for sharing.
I'm relatively certain that except for the title and dialogue mentioning succubi, this is pretty much what we would've gotten, and what we were going to get, considering that the actors all recorded their dialogue (Nancy Linari voiced Katrina), meaning it was in
production at the time the show got cancelled.