Saturday, 9 November 2019

A History of Homeworld Part 6: The Reconstruction

In this series celebrating the franchise's twentieth anniversary (and the recent announcement of Homeworld 3), I look at the background lore of the critically-acclaimed Homeworld series of video games.

In the Galactic Standard Year 9510 – 1216 of the Kharakian Dating System – the Exiles returned home. The almost-50,000-strong crew of the Mothership and the fleet it had accumulated over the course of the six-month Homeworld War began the slow process of thawing out their 600,000 brethren, cryogenically frozen for up to a dozen years before the Genocide.

The Mothership in orbit around Hiigara, now converted into an orbital spacedock.

The return to life was, for many, traumatic. They went to sleep on a world of approximately 300 million people and woke to learn that almost all of them had been killed, a great war had been fought, and the homeworld recovered at tremendous cost. For many the recovery was difficult, almost impossible. The joy of finding themselves on a verdant new world was offset by the knowledge of the losses that had the trip had incurred. 

Establishing a working civilisation and industrial base was essential. The Taiidan had occupied Hiigara for over three millennia and considered it their world, but the fall of the Emperor had sparked an exodus. Millions of Taiidan had fled the planet in every ship that could carry them, returning to their own homeworld or one of its numerous colonies. Some remained behind and surrendered with honour, in many cases being remanded into the custody of the Taiidani Republic that had arisen in place of the brutalist Empire. Taiidan cities were occupied, factories converted to Kushan – Hiigaran – use and surrendered Taiidan ships were used to bolster the Mothership’s own fleet. Resource-gathering missions were launched into the small asteroid clusters in Hiigara orbit, and elsewhere in the system. 

The Mothership, now converted into an orbital shipyard, began pumping out ships by the score. With Taiidan Republic and Bentusi help, the Hiigarans secured a buffer zone out to ten light-years from Hiigara itself. Several systems in this vicinity were colonised as mining and military bases to defend against incursions by Turanic pirates or Taiidan Imperial warlords. 

The New Daiamid was established in the capital city of Hiigara, now named Asaam Kiith’sid. The kiithid assembled, but soon a problem was discovered: seven kiithid (S’jet, Manaan, Soban, Naabal, LiirHra, Paktu and Kaalel) now represented slightly more than half of the Hiigaran population and dozens more were massively underrepresented, in some cases with only a few hundred survivors in the population. Some kiithid, such as Gaalsien, had no representatives amongst the Mothership crew or the “Sleepers” and were presumed extinct in the Kharakian Genocide. Some of the larger kiithid took advantage of the situation to offer a new home to members of smaller ones, a helpful "merger," although some kiithid saw it as a hostile takeover and resisted furiously. 

A key moment came seven years after the Landfall. Kiith Naabal attempted to almost forcibly absorb Kiith Somtaaw, which had been reduced to barely 15,000 members. Naabal wanted to use the Somtaaw’s mining expertise to enrich themselves. The Somtaaw resisted, helped by the Soban and Paktu. Several smaller kiithid chose to unite with Somtaaw, raising their numbers to over 25,000. In a furious series of debates in the New Daiamid the Somtaaw proved surprisingly victorious and not only secured their independence but were granted access to the Mothership fabrication facilities. In a matter of months, the Somtaaw had established a fleet of three ships: the mining cruisers Faal-Corum and Kunn-Lan, and the research frigate Clee-San. The Somtaaw used these resources to carve out mining territories in the Hiigaran system and beyond. 

Hiigara seen from space, with the lights of an old Taiidan city still visible.

Hiigara’s position in the galaxy was controversial. Some races, looking at the history records of the First Time, were nervous about giving the Hiigarans a place on the Galactic Council, but the Bentusi and the Taiidan Republic spoke for them. Hiigara’s claim to the surrounding systems was recognised, and support and supplies provided until the Hiigarans could stand by themselves. The Bentusi profited from early trade with Hiigara, in thanks for their support during the Homeworld War. Hiigara and the Taiidan Republic also signed a treaty of peace and alliance, with war criminals implicated in the Kharakian Genocide extradited to Hiigara for trial. 

The Taiidan Empire had effectively collapsed, placing the fate of its 360 billion citizens in doubt, but sixty star systems remained loyal to the new government on Taiidan. Ninety more collapsed into civil war, or were seized by former Taiidan admirals and generals keen to restore the empire. These warlords spent more time fighting one another or the Republic than challenging Hiigara, but several times (in 4, 9 and 11 After Hiigaran Landfall) they mustered enough forces to invade Hiigaran space. The second and third attacks penetrated the Hiigaran system, but all were thrown back in disarray. Hiigara was secure, but the Exiles would have to fight to continue to protect it.

Some Hiigarans did more than defend themselves: circa 3 AHL the newly-awoken Iifrit Tambuur-sa, the sole survivor of Kiith Tambuur (after his wife was killed in the Taiidan attack on the cryo-trays in Kharak orbit), declared paaura (eternal vengeance) on the Taiidan Imperials and launched a bloody campaign of retribution, claiming over three hundred kills in the next dozen years. 

The Hiigarans had endured many challenges in the aftermath of the Landfall, but had overcome them. But a new threat was arising which no one in the galaxy had foreseen, and one that was so dangerous, disturbing and disquieting that almost all knowledge of it was suppressed, an astonishing feat considering the tens of thousands killed in the process.

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Disney+ to hit the UK on 31 March

Disney have confirmed that its new streaming platform, Disney+, will arrive in the UK on 31 March, some four months after its US launch. Germany, France, Italy and Spain will get the service on the same day.


The delay in launching is apparently down to the complex rights situation. Disney is reverting the rights to its programmes and films held by numerous companies across the world and moving them onto its own platform. However, domestic and international rights are held by different companies, expiring at different times, so Disney+ UK will have a different line-up of shows and movies to Disney+ in the USA.

One thing it will have at launch is Disney+'s original content, in particular its eagerly-awaited Star Wars TV series, The Mandalorian. The platform will also launch with a host of legacy content, including numerous shows and films from the Disney, Pixar, Marvel, Star Wars and National Geographic back-catalogues, and will quickly be joined by material from Fox Television (which Disney recently acquired). Disney+ is intended to be a family service, so adult-rated material from those stables will not be available on the service, instead launching on sister streaming service Hulu in the United States. The fate of this material in the UK, where Hulu does not operate, is unclear.

More original content is coming down the pipe in 2020 and 2021, including a seventh season of Star Wars: The Clone Wars and multiple TV shows set in the Marvel Cinematic Universe and featuring the movie actors, including Falcon & Winter Soldier, WandaVision and Hawkeye.

Archer: Seasons 7-10

Sterling Archer and his team of former anti-terrorist secret agents are now jobless, both their private security firm and attempts to work for the CIA having ended in failure. Relocating to Los Angeles, they set up a private detective agency and are soon embroiled in a complex mystery involving a Hollywood starlet and a movie set hiding a lot of secrets. However, Archer finds himself in over his head and a shocking reversal leads him to three very strange places indeed...


The first six seasons of Archer saw the titular agent and his back-up team at private security firm ISIS (hurriedly renamed and then removed from references for fairly obvious real-world reasons) getting into scrapes and hijinks against an ambiguous historical background. Season 6 was the final one for the "classic" Archer set-up, with the crew working for the CIA directly against hostile foreign powers whilst getting into their standard inter-team banter. Season 7 moves the team to Los Angeles and a private detective agency setting, which works well but also feels a little too reminiscent of Season 5's Miami-set "Vice" season.

At the end of Season 7, however, the show takes an abrupt turn for the surreal. Archer is shot and falls into a coma; the subsequent three seasons unfold entirely in his mind (shades of classic British genre shows Life on Mars and Ashes to Ashes) with the regular cast re-conceptualised each time. Season 8, subtitled Dreamland, sees the team in 1947 LA and riffing off classic film noir tropes. Season 9, Danger Island, puts the team on a tropical island. Season 10, Archer 1999, is set in the future with the regular team now crewmembers on a starship.

For a show to completely rejig its premise like this and for so long is remarkable, perhaps even unprecedented. Archer was so firmly immersed in the world of spies, espionage and modern pop culture references that yanking the show completely out of it and forcing it into areas away from its comfort zone feels unsettling, but also extremely brave and, when it works, quite inventive. For any show, six seasons and 75 episodes in one milieu is more than enough, so to switch to a new approach helps in keeping the show fresh.

Or at least it should. Truth be told, these latter four seasons of Archer are a mixed bag. Season 7 feels very much like a reheated version of Season 5 and very little of the season's storylines or characters have remained memorable. Fun to watch in the moment, but a little too reliant on running gags. The three "concept" seasons are all better, and there's a lot of fun seeing the characters reimagined in new situations. However, the characters quickly fall back into their more familiar roles and a lot of the running gags and repetitive character tics from earlier seasons return. There's no denying that the "high concept" idea does inject fresh energy to the show at a moment when it was running out, but it doesn't solve all of the problems.

Of the three high concept seasons, Archer 1999 is by far the best. Putting the team on a spaceship is a brilliant idea and allows the writers to bring in a lot of new concepts that they couldn't touch previously. It features some of the best laughs since the show's early seasons, with Mr. Deadly Goes to Town (starring the incomparable Matt Berry as the titular Mr. Deadly, a sentient bomb who just wants someone to detonate him) being a stand-out moment. Danger Island is okay, but it feels like we visited a lot of these ideas in previous seasons when Archer had to go to exotic locations to undertake one-off missions. Dreamland has a lot of promise but the noir setting isn't really compatible with Archer's usually cynical and biting humour, so it does go to waste a little.

If the three high concept seasons don't entirely work as intended, they still help keep Archer (***½) fresh, and it's good to see that at the end of Season 10 the idea is put to bed permanently. Season 11 should see the return of the "real" world and Archer catching up with everyone over what has happened in the past three years should hopefully result in a more interesting show. The series airs on Netflix in the UK and FXX in the United States.

Time of Contempt by Andrzej Sapkowski

A new war is threatening to erupt between the Northern Kingdoms and the Empire of Nilfgaard. Sorcerers are gathering on the island of Thanedd to decide on their position. A young woman guarding a power she cannot control is in the care of a sorceress, whilst the Witcher, Geralt, is fighting off threats to her life. These are perilous times for the Continent.


Time of Contempt is the fourth book (and second full-length novel) in the Witcher series by Polish author Andrzej Sapkowski. Following directly on from the events of Blood of Elves, the novel follows several storylines in close parallel. Numerous factions are still trying to capture or kill Ciri, the princess and only heir of fallen Cintra. Ciri is in the protection of the sorceress Yennefer, who is also trying to navigate the perils of both international and sorcerous politics. The situation also draws in Geralt, who has been trying to protect Ciri from afar, and puts all three of our protagonists in jeopardy when all-out chaos erupts.

Time of Contempt is an improvement over Blood of Elves, which felt like a very long prologue for the rest of the story. That story really gets underway in Time of Contempt, which mixes character development (particularly Ciri becoming less impetuous), international politics, war and action. If Blood of Elves didn't feel complete as a novel, Time of Contempt is more successful in that area, with a distinct battery of storylines and subplots which further the overall narrative.

There are some issues. In order for the chaos at Thanedd to really land, the reader should already be familiar with many of the wizards involved from their (oft-brief) appearances in the opening two short stories collections, The Last Wish and Sword of Destiny. In fact, several more events during the story only really landed with the appropriate emotional weight because I was familiar with the characters from their chronologically later appearances in The Witcher 3 video game. In the absence of that familiarity, I think the events of this storyline might be much less effective.

Once the book straightens itself out it does get more compelling, and the concluding section which is effectively a solo adventure for Ciri as she crosses a desert and finds a new band of companions feels like the opening of a bold new storyline for her, one that is cut short by the novel not so much concluding in a thematic or dramatically appropriate way, but just ending as if Sapkowski was working to a strict page count deadline. The storyline continues fairly directly into Baptism of Fire.

Time of Contempt (****) is an improvement over the previous Witcher novel and features some very good plot and character development. If it has a weakness, it's that it feels a bit too short and in fact I think the series may have benefited from being released as four fat omnibuses rather than eight shorter novels. Nevertheless, it is another solid installment in the series. It is available now in the UK and USA.

Disenchantment: Season 1 (Part 1)

Bean is a princess, the daughter of King Zøg of Dreamland. However, she is more interested in drinking and partying than diplomacy and lessons. Her fortunes change when meets Elfo, an elf from the forest whose blood may hold the key to a secret mission of her father's, and Luci, a demon from hell who inexplicably decides to attach himself to her destiny. The three get into various adventures as Bean tries (and mostly fails) to grow as a person.


Disenchantment is the third major animated comedy series from American writer-artist Matt Groening, following on from The Simpsons (1989-present) and Futurama (1999-2013). It marks his first work for Netflix and his first TV work away from Fox.

As a result of this, the show arrived with a great deal of expectation: could Groening do for fantasy what The Simpsons had done for suburbia and Futurama for science fiction? (i.e. have several excellent seasons and then slowly grind out numerous seasons of increasingly declining tedium) The answer is maybe. It's easy to forget that The Simpsons took a good one to two seasons to get really good and Futurama was wildly inconsistent for its early run, and Disenchantment definitely follows the same pattern.

Disenchantment's biggest problem is that it isn't very funny. Groening's earlier shows used their genres to poke fun at tropes and cliches and everyday facets of life, but Disenchantment doesn't do that as successfully. The occasional gag does land but there are many more misfires: Elfo's unrequited love for Bean is drained of every hint of possible pathos and emotion and becomes seriously annoying very quickly. Rewatching Futurama, it's interesting that Fry's love for Leela does not become a major plot point until several seasons into the show, and after Leela has already shown some affection back to him (just doubting that he'd make a reliable long-term partner), so that storyline was better-handled.

The worldbuilding is also a bit sketchy: Disenchantment takes place in a pretty standard fantasy world with knights and wizards and various monsters. There are some original flourishes, like the race of intelligent amphibians from Dankmire who are allied to Dreamland through marriage, but these are mostly left underdeveloped.

For a full six episodes, the show flounders on, trying to mine some humour from the apparently revelatory fact Bean is a girl who likes getting drunk (gasp!) and Elfo fancies Bean, which is funny because he's a little green guy! The eyes start glazing over, but occasional strong moments do break through, such as Zøg (a great vocal performance by Groening regular John DiMaggio, Bender himself) turning out to be less of a blustering oaf than he first appears - even occasionally risking pathos - and a scene-stealing turn by the immortally brilliant Matt Berry and his fine-tuned vocal gesticulations as a talking pig.

Just as Disenchantment reaches the point where you may feel like abandoning it, the show does unexpectedly level up. The last three episodes of the series form a continuous epic story full of family betrayal, some decent plot twists and a few good laughs, helped by Matt Berry's return as a semi-regular (which continues into Season 2). It doesn't completely undo the damage done by the less-compelling opening episodes, but it does at least become more watchable.

Disenchantment (***) still isn't a very funny comedy, but it turns out it can be a half-effective, lighthearted character drama when it puts its mind to it. The question is if viewers can put up with the weak opening set of episodes and the lack of laughs to make it to the point where the show does start getting better. It is available worldwide on Netflix now.

Friday, 8 November 2019

Joss Whedon's HBO show THE NEVERS won't air until 2021

At a PR event this week, HBO confirmed that Joss Whedon's forthcoming Victorian drama The Nevers won't air until (presumably early) 2021.


Whedon is shooting the drama in and around London right now, and has been for several months, with shooting set to conclude in the New Year. This led to speculation that the show could air in late 2020. However, HBO have a full schedule coming up - a result of being mandated to increase their number of original dramas to compete with Netflix - and it sounds like The Nevers has been slotted in later than expected to make up for it.

This leaves HBO with something of a dilemma, as if they wait to see if the show is a hit we may not see a second season until late 2023 or even early 2024 (based on the production schedule for Season 1). Modern premium dramas have been criticised for airing new seasons only every eighteen months to two years, a problem that Amazon Prime has overcome by commissioning two seasons of their new shows up front (so Season 2 is shooting when Season 1 airs, allowing them to decide to commission a third season or not and giving the show time to build an audience over two seasons). HBO has so far been happy to allow two years to elapse between seasons, but it's unclear if they will continue in this vein with the competition apparently taking steps to overcome the issue.

The Nevers is Joss Whedon's first TV series since Dollhouse debuted ten years ago and his first screen project since The Avengers: Age of Ultron was released in 2015.

Thursday, 7 November 2019

Anthony Ryan's BLOOD SONG optioned for television

BCDF Pictures has optioned the TV rights to Anthony Ryan's A Raven's Shadow fantasy trilogy. The company is developing a series based on Blood Song and its two sequels.


Blood Song was originally self-published by Scottish author Anthony Ryan but proved so popular it was picked up for international distribution by Penguin. Blood Song has been one of the biggest-selling epic fantasy debuts of this decade, with over a million copies sold by itself and the book attracting both critical and popular acclaim. Its two sequels, Tower Lord and Queen of Fire, were more cooly received, however.

At the moment there is no director, writer or studio attached to the project, so this is a somewhat speculative option, with some distance to go before anything gets filmed.

Tuesday, 5 November 2019

Gods of Jade and Shadow by Silvia Moreno-Garcia

Mexico, 1927. Casiopeia Tun lives in her uncle's house, where she is treated as little better than a servant. She is demeaned and belittled by everyone, especially her cousin Martín. Casiopeia's fortunes abruptly change when she finds a trunk in her uncle's bedroom which is actually the prison of a powerful being: the Mayan God of the Dead Hun-Kamé. Casiopeia is unwillingly roped into becoming the god's guide and mortal helper as he seeks to find the body parts and treasures removed by his usurper brother...who now sets Martín on Casiopeia's trail.


Gods of Jade and Shadow is the fourth novel by Canadian author Silvia Moreno-Garcia, a heady period fairy tale which embraces Mayan mythology, the Jazz Age of the 1920s United States and Mexico and combines them into a richly compelling adventure.

The novel is effectively a road trip: Casiopeia gets to flee her abusive home, which is good, but only because she's been roped into helping a manipulative and dark god into helping him reclaim his throne, which is less good. As the story unfolds, the link between Casiopeia and Hun-Kamé becomes more pronounced, causing the god to become more human and less infallible, but also more capable of appreciating the beauty of the mortal world.

As well as the road trip element, the story is also one about family: Casiopeia despises and hates her family, but it's also the only world she's ever known. Hun-Kamé was betrayed by his brother and yearns for blood and vengeance, even though it will only perpetuate the cycle of hatred that has led to this impasse. The novel does a great job of contrasting the development of the two characters as they grow from their shared experiences, even the one of them who is an immortal.

The book reminded me somewhat of Neil Gaiman's American Gods, although in this case the novel benefits from a much tighter focus on a much smaller cast and on the Mayan mythology alone (and only being around half as long). The interaction of gods and mortals in the almost-modern world is intriguing and there's a galaxy of vivid supporting characters, humans, gods and demons alike, such as the amusingly mischievous Loray (who it feels could get his own spin-off book).

The book unfolds with verve and grace: at 330 pages it doesn't hang around and the story is related at a clip. At times I felt the book was too fast: the page count doesn't quite allow the author to fully explore the characters and their moral situations they find themselves in and also relate all the necessary mythology-building. Again, it feels like more could be done with this world, although the author sounds reluctant to embark on a sequel.

Gods of Jade and Shadow (****) is a enjoyable, gripping novel with a strong, small cast of characters and which unfolds with skill and pace. It is let down a little by being slightly too short and not perhaps being able to fully explore all the elements of the story and worldbuilding, but it's still a fun, compelling read. The book is available now in the UK and USA.

Sunday, 3 November 2019

A History of Homeworld Part 5: The Homeworld War


In this series celebrating the franchise's twentieth anniversary (and the recent announcement of Homeworld 3), I look at the background lore of the critically-acclaimed Homeworld series of video games.

Following the defeat of the Hiigarans and the driving of their people into exile in a remote corner of the galaxy, the Taiidan emerged as the strongest and most powerful of the galactic empires. The strongest race on the Galactic Council – bar only the now avowedly non-interventionist Bentusi – the Taiidan expanded their empire far and wide. They established their new seat of government on Hiigara, although Taiidan remained their most populous world.

Emperor Riesstiu was hungry for more power and influence, but also cautious. He knew that the Bentusi, should they be provoked out of their neutral stance, could destroy the Taiidan with the very same technology the Hiigarans had used to lay them low, so adopted a cautious path of expansion mixed with consolidation and aggression tempered by compromise. For three millennia, the Taiidan ruled as the pre-eminent galactic power, but its rulers always restrained their worst instincts.

During this time period the galaxy entered a period of stagnation; technological development proceeded extremely slowly and, with almost the entire galactic disc mapped and explored, there was a lack of brave new frontiers to explore. Various expeditions to the neighbouring satellite galaxy and even other galaxies altogether were proposed, using the Bentusi’s Far Jump capabilities, but nothing came of them. For three millennia, as the Exiles on Kharak collapsed to a medieval level of technology and then rose again, the galaxy spun in peace, but an uneasy peace punctuated by the slowly growing brutality of the Taiidan.
In 9035 GSY, whilst the Heresy Wars still raged on Kharak, the long peace was interrupted by the arrival of the Turanic Raiders. A race of space pirates, the Raiders waged unceasing war on the Outer Rim Trade Routes, stealing vast quantities of cargo. The Raiders soon learned not to test the might of the Bentusi, but had no fear of the ships of other races and became a serious menace. In 9410 GSY (four years after the Second Core was found in the ruins of Khar-Toba) Emperor Riesstiu IV the Second made an alliance with the Turanic Raiders, giving them free reign to attack other races as long as they steered clear of Taiidan ship sand worlds.

Emperor Riesstiu IV had already been among the bloodiest and most unhinged of the Taiidan Emperors, but his clone-successor was possibly deranged, soon becoming known as the Mad Emperor. Riesstiu IV 2nd was so bold as to be reckless, constantly baiting and testing the patience of the Galactic Council and even the Bentusi. In 9503 GSY, the Bentusi broke their long neutrality to censure the Taiidan and suspended all trade contact with the Empire. The Frerrn Aggregate, a powerful Council race along the Far Rim, found itself in almost a state of war with the Taiidan due to a series of border conflicts.

At the same time, Riesstiu IV 2nd was cracking down hard on dissidents within the Empire, including a nascent democratic movement which was demanding the replacing of the monarchy with a republic, restored to Taiidan rather than captured Hiigara. The Mad Emperor’s brutal measures brought several Taiidan worlds and naval fleet elements to the edge of outright rebellion.
If there was one weakness in the Mad Emperor’s armour it was the fate of the Exiles. His predecessors had sent ships to the edge of the Kharak system to monitor their fate, with orders to sterilise the planet completely should the Exiles show even the vaguest signs of developing hyperspace technology. Instead, many of the Taiidan ships simply vanished and failed to return. 
Taiidan forces eventually discovered the presence of a massive hyperspace interdiction field surrounding the Kharak system, presumably the result of Bentusi intervention (the possibility that the Second Core had survived the destruction of Sajuuk’s Wrath and been taken to Kharak seems to have been discounted). An experimental drive managed to briefly penetrate the field and allowed a weapons platform to be deployed in Kharak orbit, but the ship carrying out the work was then pulled down to the planet’s surface and the platform never activated (until, ironically, its discovery by the Kushan themselves).

A prophecy had been uttered at one point that the Exiles would escape from their prison and return to Hiigara, toppling the Taiidan Empire along the way. Despite their best efforts to stamp out the superstition, it continued to be repeated and Riesstiu IV 2nd became convinced that if the Exiles ever did escape their planet in his lifetime, he would need to take swift action. He had a Taiidan fleet positioned as close to the field as possible with orders to completely annihilate all life in the system should it fail. He also granted the Turanic Raiders the right to strip the system of anything of value afterwards.

In the year 9510 GSY, 1216 by the Kharakian Dating System, the inhibitor field shut down and the Taiidan guard fleet immediately responded.

The Kharakian Genocide.

The Kharakian Genocide

It was only a matter of hours after the Mothership departed to the outer edge of the Kharak system that a fleet of alien warships appeared in the skies above Kharak. The planet’s missile defence system immediately responded, destroying several of the Taiidan warships out of sheer surprise, before the Taiidan responded, obliterating first the Scaffold and then the orbital fighter squadrons and missile launch platforms. The space around the planet secured, the Taiidan then dropped several atmosphere-deprivation bombs on the planet.

These weapons of mass destruction, whose use was prohibited by the Galactic Council, detonated with tremendous force across Kharak’s northern hemisphere. The multi-gigaton blasts annihilated vast swathes of the planet, its cities and people by themselves. The blasts then ignited the atmosphere, burning the planet’s biosphere from the ground up. Nothing could survive. Approximately 300 million people were killed.

Satisfied that the job was done, the Taiidan fleet withdrew, aside from several frigates left behind to mop up any remaining orbital assets.

The Kushan Mothership had jumped to the outer edge of the Kharak system to rendezvous with the Khar-Selim, only to find the ship already a wreck. Turanic Raiders were already swarming through the outer system, seizing resources. The Mothership fought off the Raider forces that had eliminated the Khar-Selim and jumped back to Kharak, only to find their planet burning in space. They also found the Taiidan assault frigates commencing an attack on the cryo-trays which had been left behind in orbit. The Mothership’s own fighter and corvette squadrons were able to destroy the Taiidan ships and capture one intact. The cryo-trays were recovered. The Kushan race was now reduced to just 650,000 survivors.

The Mothership in the Great Nebula.

The Journey

The crew of the Mothership had to overcome immense shock and grief to ensure the survival of their race. With Kharak rendered completely uninhabitable, they now had no choice but to follow the path laid out by the Guidestone, to Hiigara. The odds seemed ridiculous, especially once the interrogation of the Taiidan crew was completed. The Taiidan Empire was vast, spanning a considerable portion of the total width of the galaxy, with a population of billions spread across dozens of planets and their capital standard planted firmly on Hiigara itself. The Taiidan navy consisted of thousands of ships, compare to the single Mothership. The chances of victory seemed slim.

However, the Kushan possessed several advantages. The first was surprise: the Taiidan did not know that the Mothership even existed, let alone had survived. The Mothership’s Hyperspace Core was also capable of jumps dozens of times greater than those of the Taiidan. The Mothership could jump past Taiidan fleet lines and make its way to Hiigara in a few months, whilst it would take the Taiidan years to recall their entire fleet to defend Hiigara. The Mothership’s ability to harvest resources and build new ships in deep space also allowed it to rapidly expand itself from a single vessel to the flagship of a substantial fleet of vessels consisting of fighters, corvettes, frigates, destroyers, heavy cruisers and carriers. The Kushan also had remarkable salvaging abilities, boarding and seizing control of enemy ships under heavy fire, allowing them to swell their fleet further. Although the Kushan were ludicrously outnumbered, they were still able to bring their entire firepower to bear in a single engagement, whilst the Taiidan were scattered in an attempt to find them.

In this manner, the Kushan undertook one of the boldest and most impressive military campaigns in galactic history. From Kharak they travelled into the Great Wastelands and destroyed the Taiidan fleet that had attacked Kharak. They then reached the outskirts of the Great Nebula. There, for the first time in three millennia, they were confronted by a Bentusi trade ship. The news of the Exiles’ return was greeted with cautious optimism by the Bentusi, but some trepidation for the behaviour of the ancestors. But the Kushan proved surprisingly merciful for a race which had lost so much, accepting the surrender of enemy forces where it took place and accepting diplomatic mediation with the Bentusi.

The Exile fleet passed through the Great Nebula, coming under attack by the Kadeshi, an off-shoot of their own race who had abandoned the flight to Kharak three millennia earlier. The Exiles defeated the Kadeshi and seized some of their ships to add to their fleet. Beyond the Great Nebula, in the Sea of Lost Souls, they neutralised an ancient alien vessel which had been seizing control of passing ships for centuries. Even the Bentusi had been unable to subdue it.

The Exiles entered Taiidan imperial space by destroying a guard post near an active supernova, then closed in on the Galactic Core. By this time news of the great “victory” at Kharak had reached Hiigara and the Emperor loudly proclaimed the achievement, but the result was not what he expected.

The final battle over Hiigara.

The Galactic Council censured the Taiidan for their use of a forbidden weapon and the Bentusi petitioned the Council to restore Hiigara to the Exiles. The Emperor, furious, launched a concerted attack on the Bentusi. The Bentusi refused to respond with their full force, but defended themselves. One trade ship was actually in danger of being overcome by a large Taiidan fleet until it was rescued by the Exiles themselves. The Emperor’s obvious insanity now split the Taiidan Empire, with a new, free republic being declared on Taiidan itself. Dozens of Taiidan worlds fell into civil war.

The final act began when the Taiidan Republican Navy made contact with the Exiles and formally allied with them. Fleet Captain Elson guided the Mothership fleet to the vast starship graveyard at Karos, from where vital intelligence was extracted showing a way into the Hiigaran system, bypassing most of the Taiidan defences. The Emperor, now aware of the growing precariousness of his situation, had called as many ships in as possible to defend Hiigara, but found this was much less than expected; the allied Kushan and Taiidan rebels were able to smash his fleet in a final pitched battle over Hiigara. They then fired on and destroyed the Emperor’s flagship.

As fire reigned down on Hiigara, the Taiidan forces on the planet surrendered and agreed to withdraw. The Taiidan Empire fell, almost half of the member worlds joining the new Taiidan Republic, the rest becoming independent worlds, or falling to various warlords styling themselves the new Emperor.

It had taken the Exiles – Kushan no more, now once again Hiigarans – six months and thousands of lives to reclaim their homeworld. Hiigara was again theirs, a planet they could barely have dreamed of in the burning sands of Kharak. A world of vast blue oceans, bright blue skies and cool breezes, teeming with animal life.

The Mothership took up station in orbit as a defensive redoubt and then a shipyard. The fleet it had accumulated became the core of an even larger navy dedicated to defending the planet and the system. The slow process of unloading the cryo-trays and thawing out the half million survivors of Kharak could now begin, but not before all of those who had fought their way to Hiigara were allowed to stand on the surface and breathe its air. The last to do so was Karan S’jet, who had guided the fleet more than 35,000 light-years through war and fire. She survived extraction from the Mothership core and became the figurehead of the new era.

The Exiles had returned to their Homeworld. But their struggle was not yet over.

The fall of the Taiidan Empire.


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THE DRAGON PRINCE gets Season 3 trailer and release date

Netflix's animated epic fantasy series, The Dragon Prince, arrives on 22 November. The streamer has also released a new trailer:


Season 3 of The Dragon Prince will conclude the first arc of the series; two more, each lasting two seasons, are expected to follow, for a grand total of seven seasons. There are also plans for tie-in video games, books and an animated spin-off exploring some of the deep backstory for the series.