All of you should be pretty aware of how Redemption from Sin handled a lot of canon scenes that are roughly “intact.” As a quick reminder, RFS was to Babylonia Singularity as Wicked was to Wizard of Oz. You could understand and piece together the story by just watching Wicked, but if you’ve seen the Wizard of Oz, you know exactly what scenes were omitted. As a reminder, I do that because I need to keep the stories concise to their points without straying too far from their core.
As nice as it would have looked, it would have essentially been distractions/filler.
That said, I did offer a sampler platter while simultaneously showing a progression with each scene. They all manage to rescue the incapacitated Chaldean servants, and then open up with their full might, and rough teamwork/coordination, to suppress the pillars for the main Chaldean force. It’s a show of teamwork forced by dire circumstances, but there’s even some comedy mixed in. I even threw in a few nods here and there for some ‘fan service’ type stuff without feeling it went too far away from the point.
Then, we arrived at the first “gut punch” of the singularity. Since I stick close to canon, it was bound to happen. I just simply raised the stakes so it wasn’t just Gudao Mashu was shielding, but everyone in the Chaldean fleet too. Goetia was going to wipe all of them out in one go, which was essentially check on the chessboard. The castle just happened to move in the way to buy precious time, and I hope I portrayed the swirling emotions Mashu felt in those final moments of hers.
As one final pointer to give all of you some speculation fuel (partly as apology I have to go back to regular update schedule for a week), I will offer a very vague hint: There’s something similar about which point of views that have been shown within the singularity.
It was hard to pick one since this entire section held such a variety of emotion. Just went with a generalized but fitting battle theme that played while I was writing it.
I felt this one captured the final scene very well. It was used before in RFS, but it’s quite the nice dramatic & emotional piece.
The real focus of the chapter is obviously on Roman though. It’s his final motivations for doing what he needs to. So I decided to end the whole ship teasing with Da Vinci thing with the obvious reveal. They weren’t actually in a secret relationship, and that’s one of Roman’s last regrets. Instead, he does get one kiss to soothe the regret, even if it builds a thousand more. Gotta twist the knife a bit, right?
Then there’s David. The whole “he didn’t know” thing would have been a good angle, but David’s interlude inferred he did know. So instead, I went with that, and made it remove another of Roman’s final regrets. The scene probably didn’t go the way people thought, but that’s fine. Just remember, David apparently still doesn’t know what his third noble phantasm does. No one else does for that matter anyway besides Da Vinci. Gotta twist the knife more, right?
So, with both those out of the way, his only remaining obstacles are now physical, and that’s being taken care of now. Canon storyline had it that the bonds of friendship were inferred to be part of the reason all those servants came to assist in their time of need. I just added a little bit more ‘possibility’ with Merlin lending a hand or two indirectly so it had a little firmer footing. It’s still pretty much what happened in canon, just at a different point in time and Jeanne’s monologue got cut short a bit.
Otherwise, a rare setup chapter with little action just so we transition to more of the good bits. In particular, some splices of the canon suppression to enjoy.
There’s two tracks to pick from. Either work for the ending, but I personally prefer the second.
I knew long, long before I started this that I wanted Chaldea itself to play a crucial role in the final battle. It wasn’t enough for me that Chaldea came under attack in the canon storyline: I wanted them to have a piece of action. They, the normal staff of Chaldea, should play a role in the salvation of humanity. I didn’t want the battle to be solved by servant and master hands alone. It’s more poetic that way.
Of course, that also meant I was going to put them into serious danger. I did just that, and I did all I could to try and put you in their shoes. They’re normal people, gripped by emotions and fear and unadapted to war at its scariest. I tried to make them feel natural, but at the same time, gave them that glimmer of hope and determination they’d likely grab by the bonds they formed and their experiences in their impossible reality.
I also wanted to see how attached some of you got to my OCs. Writing characters in an original screenplay is far different than inserting new ones among beloved, canon favorites. I’m glad so very many adore the OCs. Are they still alive? Are they dead? That’s for me to keep a secret, and you’ll just have to hang on to those seats just a little longer. Gotta keep that tension up since the big bad is still looking to kill Mashu and Gudao… until Good ol’ Merlin pops up!
In the end, I hope the surprise nearly all the major OCs played a part was fun and exciting to read. They played a key role in pushing Doctor Roman’s motivations into high gear, and we veterans all know what that means. The time draws nearer, but no one is out of the woods yet even if they managed to deliver the grail!
Fun to think the night is still fairly young, huh?
This caught the general mood of last minute victory at the end. Nothing that played while I was writing really captured the “despair to hope” swing through the whole thing. Maybe I’ll find something later when writing the other chapters.
First off, let’s be honest. If there was anyone who can get away with pulling bullshit maneuvers at the drop of a hat, it’s Merlin. I just didn’t let him get away with it for free because then that would have really been bullshit. That said, if there’s a small side-tagline I could give to this supplement, it’d be about how much planning time was set aside just to figure out who could get away with what and how to stop that from happening. I’d say I did a fairly decent amount to give myself the leeway to allow some things to thread the needle.
There’s been a lot of curious speculation from some of you as to what exactly happened last chapter, but this should definitely clear things up. I haven’t changed anything from the last chapter except removed the author’s note, so some may probably perceive a different picture based on my purposefully tricky writing. I did try to do a good job of pointing your beliefs in the right direction though, and by the reviews and comments, it definitely worked.
Some FoC OC’s have finally made a showing, but at this point you should already know my track record for OCs and supplement stories. I didn’t quite put them in nice situations, nor have I swatted down any death flags (but rather raised them). We’ll see what happens, and while I believe some of you will be surprised, you really shouldn’t be if you’ve followed what I’ve written for a while (year plus).
While I still am using large swathes of canon dialogue, I’m still adapting it as I go. Some of them don’t fit quite as well as they do considering what’s developed in my series’ depiction of the timeline. It’s still pretty much accurate to what it is, but obvious developments (like Gudao and Mashu being in a relationship) would shift a few things.
All said and done, I hope this chapter depicted the feeling of helplessness the characters are surrounded by… then the glimmer of hope at the end that you want to reach out and grab too. Hopefully that’s the case.
Here’s something to set the mood for the sad tension at the beginning. It could work for the desperate action scenes too, but in an artistic way.
I think the hardest part about making this chapter was just making sure it was obvious Lev and Goetia were talking at the same time. I tried to make it clear with cues, and then added a few extra links at SKYS’ recommendation. Hopefully it did the trick.
In case any of you were wondering why the final team seemed to be a magnet of occasional errors and discrepancies… well, now you know: Goetia was going to press the reset button anyway, so whoever was on the team was easily interchangeable save for a few key servants that played a big role. I thought it was pretty obviously foreshadowed something bad was going to happen anyway. I practically dropped anvils with the prologue’s lingering paranoia.
The only differences were what attacks would be displayed to showcase Goetia’s special ability I’m sure every FGO JP player remembers. As a small and fun note, part of the reason Jalter was present is as a notable member of the “Buster Meta” in-game wise. It’s a small reference, and may even make it a tad bit humorous that it cast her, Merlin, and Waver aside as if to say, “No. We know what you’re planning here. Stop that.”
That said, I obviously left you with one hell of a cliffhanger. Goetia wasn’t kidding when it said they’re taking them seriously. While the canon final singularity showed it’s partially letting its anger and disbelief get to him, I decided to do it differently. This one is calm, and it’s doing things accordingly without leaving room for doubt. It wants Chaldea removed as a threat to its plans, but it wants to do it a specific way. Thus, it placed Chaldea into one hell of a corner.
I’ve provided more than enough information for everyone to mull over while I’m away. Any veteran of the Fate series will be able to decipher everything correctly, even with the thoroughness of Goetia’s overall trap. Even if it may be fairly predictable for some, I can still assure it’s going to be a fun, short ride though this singularity.
Some may remember it from when it was used for Gilgamesh vs. Enkidu in RFS.
Minor Error: Original entry had Tamamo listed twice by mistake during a reorganizing flub. #16 is Shuten. The mistake has been fixed.
So, for all the JP players out there, I’m sure the alarm bells were ringing pretty thoroughly. If they weren’t, they should have by the time Solomon made his appearance… or should have. As stated in the preface, this isn’t going exactly like the canon story like RFS did. It’s more akin to TGL’s “dealing with the butterfly effect”, and you’re all in for a new ride that still sticks close to canon.
Most of you know I hate making exact rehashes, so it’s only to be expected.
So, we’ll go into the first interesting thing to note: The point of view for the prologue is from various people again, but mainly the Masters and Roman. The original canon storyline had a lot of philosophy on the value of human nature, so I figured what better way than showcasing the regular humans narration this time around. It’ll switch between more as the time comes, but for the most part, this is a supplement that focuses on the “humans”.
Obviously, the servants will still get showcased. Obviously. Don’t worry about that. They’ll get their just desserts.
There’s really almost nothing to say since this is just the prologue, so I’ll just leave it at that for now. The entry spoke for itself, and should have hopefully set the mood for the rollercoaster to come.
I’ll also include a map of the singularity for reference since it’s not exactly easy access anymore. Bonus points for showing the mat drops for nostalgia!
As tradition, I choose unofficial soundtracks for my supplement entries. These are chosen based on what “roughly fits” when I wound up writing the supplement’s chapter. It might not fit perfectly, but they were never tailor-made to begin with, so that’s to be expected.
However, this entry I’m keeping it official and ominous. These should put the proper vibes into you. First for mostly dialogue scenes. The latter is for the smattering of action, though mainly the short air-invasion scenes.
Thus, I have added a second tally onto my completed stories list. It was my toughest journey to date, but it felt very rewarding to accomplish.
This story turned out much longer than I originally wished, and even further than intended with the poll. I intend to make others as short yet concise as possible, but doing so to this would have been admittedly terrible. This one was for Gilgamesh, one of the hardest and most well-defined characters in Fate. To take shortcuts would have left holes, so I sought to avoid that.
In exchange, I made it as emotional and epic as possible to make it a compelling read when combined with both regular Babylonia and the Fragments Series. I believe it has easily earned its place in the series. Personally, I even feel it’s my best work in terms of depth, form-fitting, introspection, and overall design. I’ve crammed a lot into this story, and at the end I feel very satisfied with what I produced.
Which is why the Epilogue needed to seal the deal and serve as the bridge between the explosive Chapter 14 and Fragment 48. It needed to wind everything down, so the emotion needed to be shifted properly. I believe I accomplished that well, starting with the seamless transition that pays reference to Scene II of the prologue. Between that and Epilogue’s Scene I, everything could be seen as Gilgamesh’s flashback as he walked toward the fading summoning light.
Of course, to finish the deal, his more Sage-like self needed to be summoned as a memorial essence. It placed the final seal on Gilgamesh’s opinion to change, but he didn’t need it at this point; It was just insurance. What he really needed, but couldn’t have, was his friend, but luck had other plans days later. One can say it was his reward for sticking with his newfound belief.
Finally, as perfect symbolism, they needed to reunite under that moon I practically hammered into everyone’s heads over and over. But that was the fun part for me, because the moon as a guide had depth of its own. I placed it repeatedly to mean countless things, but how many of you picked up its true meaning before the last paragraph? How many of you knew the title actually held a double meaning? It’s small things like this in the story’s design that make me feel it’s my strongest work to date.
Though, technically, it has been anyway since all of them are supposed to be one giant story placed together.
In regards to Solomon not attacking,someone has kindly noted a discrepancy. You may read the reasoning for that here.
For those who suspect it was Deus Ex Machina that Gudao had the cord in his satchel, I advise you re-read the following segments. Chapter XII: Scene X. Chapter XIII: Scene IX. Chapter XIV: Scenes I & II. You will find a quiet progression you missed. It slipped within the background on purpose.
For timeline continuity purposes, I also explained why Solomon isn’t actually assaulting Chaldea yet. With how he acts in the final chapter of FGO Part I, the general statement is plausible. He very well could be that arrogant since he’s so positively sure of himself. Why waste energy on something that’s not going to win? He thinks like Gilgamesh in that regard, thus, the King of Heroes was the perfect one to explain it.
Thank you for reading Redemption from Sin. I hope you enjoyed the journey as much as I enjoy seeing its finished form.S
There’s only one song, and it’s for the final scene (XI). Even the title seems to fit. “In That Smile” by Mattia Cupelli.
All chapter titles are now added!
Despite the occasional slow parts, I feel I captured the mood of the final battle quite well. I added the referential time stamps during the final scenes to give a reference this wasn’t just all at once and a quick finish; I just didn’t want to write repetitive “Gilgamesh throws ____ at ____” paragraphs and so forth. This allowed me condense the fairly long entry and only note the interesting and creative bits.
I buffed Ereshkigal’s army. It was left fairly vague exactly how it operated, so I took some creative liberties to make the Garula spirits worthy adversaries. I also crafted Ereshkigal’s attacks from a basic setup, so when she is finally released in the gacha I can modify it easily enough.
King Gil makes one final appearance, but does something very different from what canon has shown. Why? As he stated himself, it’s fairly obvious. Why does he feel the need to steal his own thunder when he’s certain his counterpart will finish the job? It’s also Gilgamesh’s story, rather than his counterpart, so him dealing the final blow is the final seal on his development during the singularity. His own version of the final speech is the depiction of that very idea.
On the other hand, the hard part was ensuring King Hassan and Merlin got their own little debuts without stealing too much of the show. I think that came out fairly solid, and I even slipped in a glimpse of Void Shiki doing her thing just to add a little instant-death variation.
Ishtar, Ozymandias, and Iskandar also do a fair amount of work to help setup the final strike. I thought it’d fit best to have Gilgamesh standing there channeling, almost like a reference to everyone working for the king… but not quite. He’s pulling his own weight and carefully calculating what must be done.
There’s a few dialogue references crammed into this chapter if you know where to look. Those who are avid followers of the Fate/ series and my work should be able to snag all of them. As small, free handouts, two of them had to do with this supplement.S
Scene V’s inspiring music.
From Scenes VI to part of VIII? There was a bunch that fit it, but there was only one real correct choice here. I would like to hear this on a higher quality remake someday. It just doesn’t sound “crisp” to me.
This music helped inspire the setup and final strike though.
I purposefully didn’t name all the servants present in the final battle. Another one of my pet peeves is seeing a large list of names stacked together. I listed the remaining servants because there were only so few remaining, but the fleet was another story. I’ll just leave it up to your reasonable interpretation of who would with the fleet and who was helping defend Uruk. Reasonable, as in decisions like: Spartacus would not be with the fleet for obvious reason.
Most of the canon stuff happens, but does so a touch differently. I’ve left enough of a gap for you to imagine Benkei & Ushiwakamaru’s whole dialogue sequence, but I didn’t want to type all of that out. It will be addressed in a later fragment, of course. I also made Ana’s segment different. Quetz still does her stuff, but there’s no suspense until the end on if she survived; This Gudao wouldn’t just abandon a falling comrade.
I gave Tiamat’s long ranged ability more showcasing. I found it a fairly threatening ability she could use when she didn’t want to excerpt extra effort (like chasing). It served well for actually killing King Gil, contrary to the story that had him alive as they fell.
The only real hard part with writing this was justification of why Tiamat wasn’t just blasting everyone to death and moving on her way. Thankfully, she’s large and cumbersome, so her energy would likely be expended on a rapid rate to do anything. Thus, between birthing children, swatting at the fleet, and other stuff, she can’t just outright disintegrate everyone.
Most of this was action, but the real important sequence that needed to be nailed was the Kingu scene. Gilgamesh was definitely going to try and interact with him, whether through a fight or dialogue. Thus, I made a dialogue segment that put the final closure on their singularity-long struggle. Now Gilgamesh has the cord and a final resolve to delete Tiamat.S
Four soundtracks this chapter! I felt this was great for Scene I-VI
Scenes VII and VIII needed something a touch more dramatic.
Scene X’s felt a touch more ominous and “last stand” like. This one starts at the latter half of Scene IX because of its slow opening. I felt this had a great feeling of defiance for King Gil’s last stand.
This plays for Kingu’s farewell scene once Gilgamesh and him begin talking. You’ll know exactly what parts happen where.
Tiamat did get the grail; That was inferred by the lahmus that were absorbed.
I tried to make Tiamat feel like a final level’s boss she was showcased to be. I’ll showcase more next chapter, but I wanted her to feel gigantic, imposing, and terror-inducing. What better way than the feeling of being in her presence. The shockwaves from her footsteps were also canon, but I went a little further to actually show it being felt (instead of just stated by Quetz).
For those unaware, Gilgamesh has unbelievable amounts of “bullshit” stored in his Gate of Babylon. Nasu really wasn’t kidding when that thing could store every conceivable, original treasure. One was showcased this chapter, though it was only ever inferred he had it since the archer never used it in a show. If you’re wondering what he fired at Tiamat, it was an ancient nuclear weapon Vimanas were originally armed with.
Yes. Gudao quoted a meme’d song lyric. That’s why Gabrielle looked at him incredulously.
The entire talking sequence was a rough conglomeration of their discussions with the king, but I didn’t condense everything. I’ve left plenty of “not-detailed” space to fit the other scenes, like the talk with Quetz or Inanna. There’s even mention King Gil had a final conversation with the masters before their takeoff. Due to that, I had to fill it with something, but I decided against more repetitive action. Instead I made a psychological warfare session.
The Chaos Tide shouldn’t be touched and Gudao loves air superiority. What better answer then for Drake and Blackbeard’s combined fleet to appear again? Add in a bunch more flyers, an escorting swarm of pterosaurs, and you have one hell of an interesting sight to behold. The question is, why are they doing a full frontal attack when that’s not advised? Tune in next time to find out…
…even though you probably already know the outcome anyway. I assume most of you have read Babylonia summaries.
Soundtrack Disclaimer: The music doesn’t fit 100% all the time since it can’t be customized. When I pick music for a chapter or scene, it’s because it was the most inspiring piece played when writing. While it may work for me and what I visualize, it might not work for you. Feel free to give it a try.
Time to bring out the Dark Souls music. This one plays for Scene IV, when they realize the attack failed. I felt it captured the gravity of seeing the enormous Tiamat for the first time.
The second is when the fleet leaves for the front in Scene XII. It captures the renewing of spirits and morale, plus seeing the fleet in its (new and improved) full glory.
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