Atem: "So… someone still has to show me her amazing lioness skills."
Martina: "Ah, right. True. Though I’m not sure you still deserve it…"
Atem: "What do you mean I don’t deserve it?!"
Martina: "Ahah, dork! I’m just messing with you!"
Atem: "We’ll see who gets the last laugh, dork."
*I chose not to remake it in English, as I wanted to keep the original mood.
**I know the scene reads quite fast — I had to find a balance between the pacing of the frames and the readability of the dialogue, so this was the best compromise for now.
I used “dork” on purpose for the translation of scemo.
In Italian it sounds affectionate, playful, and lightly diminishing in exactly the way Martina treats Atem.
She does not put him on a pedestal. She doesn’t approach him with reverence, fear, or idealized distance — and that matters a lot.
One of the things that makes Martina so important to him is precisely that she treats him like a person before anything else, at her same level. Not like a king. Not like a myth. Not like someone untouchable.
Everyone else, in different ways, still carries some version of that distance with him — Yugi included, even if in a very different and loving form.
Martina doesn’t.
Her attachment to Atem doesn’t come from reverence, but from direct emotional recognition, from parity, from an almost instinctive sense of communion. And Atem is deeply drawn to that.
-------
It’s been a while since I posted anything here, but this project is not abandoned at all. Over the past few months I started several illustrations, but I left many of them unfinished or suspended for a while.
Sometimes I sketch something quickly, and I keep it in that raw state instead of fully rendering it. That also happened with this GIF: it’s not meant to be a polished final piece, as it is my first attempt at making one.
I also know that, for anyone following this blog, the overall shape of the story may still be a bit unclear.
At the beginning, my idea was to post more visual material first before giving it a proper structure.
In the following posts, I’d like to put together a small conceptual guide / map with the key points of the story, just to make the project easier to follow.
In the meantime, I had to slow down a lot because I’ve started a hieroglyphs course. This is actually part of the project: I want to become more grounded when it comes to Atem, his language, and the historical side of his character.
I want to be able to write at least the basics properly, and to build his Egyptian speech in a way that feels as believable as possible. Through Coptic-based reconstructions and other material, I’m also trying to note reconstructed readings whenever I can. The goal is to make the story richer, more coherent, and historically alive.
In my version of the story, this eventually leads him toward Egyptology: the most meaningful contribution he can give to the world is helping clarify what is still obscure, distorted, or incomplete in the study of ancient Egypt.
In two weeks I’ll be going on a trip to Tuscany for a few days specifically for this project. The story is set in real places — Massa, Rimigliano, Castiglioncello, Populonia — and I want to see them directly so I can fill in narrative gaps more accurately.
Monte di Pasta Garden, Massa, early November 2025.
Martina is sitting on a bench, Atem is standing in front of her.
They’re waiting for Chiara, Martina’s best friend, for an aperitivo.
It’s the first time Chiara is going to meet Atem.
She’s late, though, so the waiting turns into casual time: Martina scrolls through Instagram, Atem looks around while rolling a cigarette (a bad habit he’s picked up about three months earlier).
Suddenly, Martina gets a message.
It’s Noor, a university classmate — the same person who keeps Martina updated on the Arab world, something she deeply cares about and has been interested in long before Atem arrived.
This beat's gonna get stuck in your head.
A new track, just released. Not Egyptian, but already gaining attention.
Martina doesn’t hesitate and puts her headphones on.
And there it is — Martina’s expression changes.
When she makes that face, Atem already knows what’s going through her blonde head.
Arabic, sensual beats... that’s all it takes for Martina. Her mind immediately projects Atem into a seductive imaginary, in every possible sense.
بدي أنا شو بدي؟
Baddi ana? Sho baddi?
What do I want? What do I want?
أنا غيرك ما بدي
Ana gheyrak ma baddi
I don’t want anyone but you
شو مهضومة يا حبي
Sho mahdoumeh ya 7obi
What’s wrong, my love?
يا عمري خليك حدي
Ya 3omri khallik 7adde
My life, stay close to me
Martina can’t take her eyes off him.
It’s not the first time this happens — Ana Enta by Mohamed Ramadan was the first, and since then she hasn’t stopped.
Oh, Martina… here you go again with Arabic music.
To Atem, that association always feels strange.
The language Martina is listening to is not his, and the Egypt he gets connected to is not the one he lived in.
Martina then stands up, kisses him on the cheek, and finally tells him — in his own language, in Middle Egyptian no less:
𓇋𓅱𓌸𓂋𓀀𓍿𓅱
ỉw mry ṯw
I love you
That direct call to his own language and identity catches him off guard — and pulls him back to her.
After deciding to settle permanently in Italy, Atem has to do something he has never done before: build a normal life.
He has nothing usable in the modern world: no formal education, no registered identity.
With Seto’s help, he manages to obtain forged documents — but that is not enough.
To pay rent and maintain his independence, Atem is forced to accept menial work. This is how his job career at McDonald’s begins, the only place where no one is really interested in the details of your résumé and no specific qualifications are required.
He discovers the weight of long shifts and the narrow margin he has each month just to get by, the complete opposite of his former life as a pharaoh.
It is a necessary passage, not a fall: a time in which he observes, learns how this world works, and above all decides what his purpose in the modern world is.
Seeing Martina go to university every day makes him reflect.
He understands that the only way to give meaning to his existence is to study.
Political science would have been the most obvious choice for him: power, structures, administration — a language he knows better than any other.
But Atem does not want to return to ruling, neither directly nor symbolically.
His “mission” now is very different: he represents the only direct connection to antiquity, and therefore his task is to bring to humanity the knowledge of his time — the real one.
His duty is to preserve, understand, and intervene in Egyptological knowledge, and to give the world notions that no person born in the year 2000 could ever access.
That is why he chooses to enroll in Cultural Heritage at the University of Pisa, following the curriculum in Egyptology and the Ancient Near East, which hosts the oldest Egyptology chair worldwide, with a program unique within the Italian academic landscape and recognized internationally.
Atem naturally speaks Ancient Egyptian; he can read both hieroglyphs and hieratic. He has lived the life of the Bronze Age firsthand. The New Kingdom is his “home”, and he knows it better than anyone else in the world. It could only be his destiny.
However, there are also aspects of his world that he does not know.
Even for him, concepts such as the Naqada Culture, the Predynastic Period, the Old and Middle Kingdoms, or figures like Ramesses II, Psammetichus I, or the Ptolemies are unfamiliar.
Studying becomes a way to fill in what he was never able to know, and to rediscover himself directly.
His academic path also includes the Greek, Roman, and medieval worlds, as well as prehistory — because an archaeologist never works in isolation, and the past is never compartmentalized.
Living in Lunigiana, Atem begins to take an interest in the territory around him.
He wants to understand the land he now lives in, one of the oldest inhabited regions in Italy.
Thus, in his second year (in 2027), while preparing for his elective course in Prehistoric Archaeology, he comes into contact with the Statue Stele of Lunigiana and the Copper Age cults at the Museum of Statue Stele in Pontremoli.
And this is where this scene takes place.
Atem is genuinely involved because, for the first time, a university exam touches something sacred for him: solar cults — not from his own time, but from the Copper Age — outside Egypt and outside his personal history.
Anthropomorphic figures carved five thousand years ago, bearing clear symbolic, cosmic, and — in some cases — solar references, created by populations that had no writing systems, no kingdoms, no pharaohs.
And yet, they had already developed a complex form of sacrality, rooted in the body, in stone, and in the cycle of the sun, very similar to that of the New Kingdom.
Martina’s remark about Atenism is meant precisely to provoke him, because it is evident that next to the Statue Stele he feels at ease, almost legitimized.
The chronological detail emerges: 3rd millennium BC.
Those statues precede Atem’s birth by almost two thousand years.
The remark works on two levels: it reminds him that structured cultures already existed outside Egypt, and at the same time confronts Atem with something that is older even than himself.
And it is here that his thoughts automatically slip toward his father.
The sun — Aten — always leads Atem there.
His father, Akhenaten, certainly did not ignore the existence of earlier solar cults, but no one had ever pushed them to such an absolute, obsessive, and political level as he did.
It is a bitter observation, delivered lightly: Atem recognizes how rigid and fanatical his father was, and how much softer, more intimate, and more human his own relationship with Aten is.
P.S.: the original version is in Italian. To make it easier, I’ve already placed the English translations inside the bubbles.
This scene takes place about a week after Atem and Martina first got to know each other.
Atem and Anzu have been traveling across Italy for six months — a long sabbatical meant to help Atem truly understand the modern world.
While camping near the sea, they accidentally meet a group of locals spending the end of summer together.
Luca, the owner of the house, invites them to stay for a few days.
After about a week, Martina arrives.
She’s just gone through a breakup — but the moment she sees Atem, something clicks.
He notices her too, though he pretends not to care.
Their first exchanges are pure tension: he avoids her, she keeps teasing him, and every time he looks away… he ends up looking again.
Atem realizes that Martina is nothing like anyone he’s ever met: bold, alive, unfiltered.
He finds her impossible to ignore — and that’s exactly what makes him want her more.
But giving in would mean destroying everything he knows: Anzu, Yugi, Japan, the life he has just begun to rebuild.
So he fights it. He fights her.
But Martina is persistent. And little by little, Atem begins to lose that battle.
Then comes the first night in the kitchen.
He goes down to smoke, to calm his thoughts about her.
But she’s there — and she doesn’t want to leave him alone.
What happens next is the breaking point: a mix of instinct and anger.
Atem crosses a line, and Martina runs away.
That night, he finally realizes that his denial is turning into something darker: not control, but fear.
The next night, the thought of Martina doesn’t leave him.
When everyone’s asleep, he finds an excuse to go downstairs again — “just for a smoke.”
He’s actually hoping to see her again, alone.
But she’s not in the kitchen.
Having heard him leave (their rooms are across from each other), she quietly follows him downstairs and joins him.
They go to her room. They talk. They get closer.
It’s late, the air is heavy, and the conversation drifts dangerously close to everything unspoken.
That’s why they decide to go out to the beach — where no one can see or hear them.
That’s where this scene happens.
On the dark sand of Rimigliano Beach, they walk and tease each other — half joking, half confessing without words.
When Atem asks if she can cook, he’s already imagining a shared life, a future.
This is the first night he doesn’t run away.
He still doesn’t know how to end what he has with Anzu, or how to explain it to Yugi.
But for the first time, he’s not afraid of being his real self.
This close-up actually comes from an older drawing I made for Farewell — a Revo project I had paused for a while, so it never saw the light (you’ll get to see the real one in the future).
The original drawing (Atem and Anzu in historically accurate ancient Egyptian clothes) took me two months of research and it’s still unfinished.
One day, while staring at it for the thousandth time, I decided to sketch modern Atem on top of Pharaoh Atem — just for fun.
PS: Atem looks a bit different here from how I draw him lately — his features weren’t as Egyptian-like yet, but I didn’t want to alter the original piece.
Funny trivia: last year I was looking for original music from Luxor/Thebes and accidentally came across a Cercle DJ set by Adriatique, a Swiss melodic techno duo I didn’t know at all — they performed an incredible live show right in front of Hatshepsut’s temple (like one of Atem’s dynastic grandmothers — lol —).
It instantly reminded me of Atem and Anzu walking above Deir el-Bahari in my Farewell doujinshi — still unpublished — during that conversation about what Atem would have done if he had survived.(I’ll publish that doujin someday — it’s one of my most intense works.)That was the spark that eventually gave life to modern Atem.
Martina came a few months later — but she’s absolutely the “daughter” of that same cosmic trip.
You can clearly see it — Atem was always stylish, commenting on Yugi’s look and, as Pharaoh, obviously decked out in jewelry and details.
Also, Kazuki Takahashi once said about himself that he was “a designer more than a mangaka” (it’s in Duel Art).
So yeah — Atem’s a total fashionista.
(We’ll explore all his modern sides one by one. :D)
1st Entry - Revolutionshipping: a bond beyond time.
Few relationships in Yu-Gi-Oh! carry as much unspoken depth as that between Atem and Anzu.
From the earliest chapters of the manga, Kazuki Takahashi wove a connection between them that was complex, layered, and undeniably magnetic.
Though it never materialized into romance, the chemistry was always there—lingering in stolen glances, quiet moments, and the weight of unspoken words.
Why is Revolutionshipping so special
The dynamic between Atem and Anzu is one of contrasts and complements.
Atem carries the weight of his past and destiny, while Anzu embodies dreams, the future, and the pursuit of something beyond the known. She is drawn to his strength, wisdom, and mystery, while he finds in her a grounding presence—someone who sees him as more than just a ruler or a spirit bound to a puzzle.
Their bond isn’t built on shared childhood memories like Anzu and Yugi’s, but on something more immediate and instinctual—an unspoken understanding that, in another life, in another time, could have been something more.
There’s an undeniable chemistry in their interactions.
Unlike Yugi, Anzu instinctively responds to Atem’s confidence and presence. She challenges him in ways others don’t, and he respects her not just out of gratitude but as an equal. She doesn’t idolize him, nor does she depend on him for protection—she simply sees him for who he is, both as a king and as a person.
In turn, Atem brings out a different side of her. With him, she is both challenged and inspired.
They don’t just complement each other’s strengths; they uplift each other in moments of doubt, creating a bond that is as grounding as it is inspiring.
Their personalities complement each other naturally.
Anzu is ambitious, determined, and unafraid to challenge authority—qualities that align with Atem’s own strength and leadership.
Unlike Yugi, who is more hesitant, Atem meets her at her level, creating a connection built on mutual respect and attraction.
At the same time, they balance each other’s weaknesses.
Atem, despite his confidence, carries the burden of duty and isolation, struggling to express vulnerability.
Anzu encourages him to see beyond obligation and embrace the idea of personal happiness.
Conversely, she sometimes doubts her own path, torn between dreams and reality, and Atem, with his unwavering resolve, reminds her to believe in herself and move forward without fear.
What Anzu and Atem share that Yugi does not
One of the most overlooked yet telling revo moments in the manga is chapter 41.
Anzu and Yugi make a love test with their lovely two, but it doesn’t beep.
When Atem takes over however, the Tamagotchi reacts.
While this may seem like a small detail, it almost feels as if Kazuki Takahashi himself is subtly suggesting their compatibility—after all, why include such a moment if not to highlight a contrast?
Evidence of this can be seen as early as Season 0, where several moments between them were removed, a trend that continued into the 2000s anime adaptation.
This isn’t the only time we see this dynamic.
In the early chapters of the manga, when Takahashi had more creative freedom, there are numerous moments that highlight Anzu and Atem’s unique connection.
As the series progresses, Atem becomes more distant, but this shift seems less like a natural evolution of his character and more like an editorial decision to reinforce his contrast with Yugi.
Why it can’t happen
Atem does not belong in Anzu’s world, just as she does not belong in his.
His very existence is tied to the past, to a destiny that was set in motion thousands of years ago.
No matter how much either of them may wish otherwise, Atem’s journey was always leading him toward one inevitable conclusion—returning to the afterlife.
This is why their relationship remains forever in the realm of “what if.”
Unlike other potential romances, this one is never given a real chance, not because of lack of feelings, but because it was never meant to be realized.
The story itself does not allow it.
Anzu’s development: from attraction to love
Anzu’s feelings for Atem evolve gradually throughout the series. Initially, she sees him as a mysterious, confident version of Yugi—an aspect of him that had always been hidden. In the early manga and anime, she expresses fascination with this other Yugi, believing him to be just another side of Yugi himself. At this stage, her emotions remain tied to Yugi as a whole, rather than recognizing Atem as his own person.
This idea is reinforced in chapter 80 of the manga, where she states that it doesn’t matter which of the two she is with—because to her, they are both Yugi. However, this moment also marks a turning point. As the story progresses, she begins to understand the truth: Atem is not Yugi. He is someone else entirely, with his own thoughts, struggles, and destiny.
Atem is the one who challenges her, who meets her intensity, who resonates with her in a way Yugi never quite does. Even if she never says it out loud, her heart had already chosen.
This realization shifts her feelings from an innocent crush to something deeper—marked by admiration, longing, and an undeniable chemistry.
Though she deeply cares for Yugi, their bond is built on friendship and familiarity rather than passion and attraction.
Atem’s development: from loneliness to the Duat
Atem’s journey isn’t just about regaining his memories—it’s about finding his place in the world and, ultimately, accepting his fate.
And Anzu plays a pivotal role in this.
She is the one who, perhaps more than anyone else, encourages him to follow his heart, even when it means facing the painful truth: his destiny lies beyond this world.
Despite loving him, despite knowing what it will cost her, she chooses to support him. That selflessness is exactly what gives Atem the strength to walk forward.
Through Anzu, Atem learns not just who he was, but who he is.
But beyond the emotional support, Anzu also plays a crucial role in uncovering his past.
Without her, Atem wouldn’t have remembered his true name—one of the most vital keys to his journey.
It is through her that he bridges the gap between his forgotten past and his present self.
The cartouche she gifts him, the name she helps him reclaim… these aren’t just symbolic gestures. They are tangible, irreplaceable moments that lead him to his ultimate resolution.
And when the moment comes for him to step into the Duat, Atem is already resolute in his choice.
The unwavering belief she has always shown in him, the way she has pushed him forward throughout his journey, is part of what gave him the strength to make that decision in the first place.
Even if she can no longer influence his path, her presence in his life has already shaped the person he has become.
And this is where Anzu plays a unique role.
While Yugi cares for Atem, he never truly pushes him to focus on himself.
Instead, he leaves that task to Anzu.
She is the one who doesn’t just stand by his side in battle, but actively seeks out his well-being, making sure that, for once, someone is looking after him.
In this way, Anzu gives Atem something no one else does—the space to be vulnerable, to be human, and to be loved.
Atem’s resolve: holding back.
Despite whatever feelings he may have, Atem is fully aware of his fate.
He is not meant to stay in the present, and he refuses to take anything away from Yugi—including the possibility of a relationship with Anzu. He values Yugi too much to ever interfere with his happiness.
This is another reason why Atem never openly acknowledges any feelings he may have for Anzu.
He knows that if he allows himself to get too close, it will only make leaving harder—not just for him, but for her as well.
His concern for her safety goes beyond that of a simple friend—he takes responsibility for her well-being in a way that is deeply personal.
Despite his restraint, Atem is undeniably protective of Anzu.
Time and time again, he is the first to step in when she is in danger, whether it’s during Duelist Kingdom, Battle City, or even small moments in between.
Her silence speaks volumes. It shows her loyalty to Yugi, her unwillingness to be selfish at his expense.
There’s also another subtle but important detail—Anzu never directly tells Atem about her feelings for him.
This isn’t because she’s uncertain, but rather because she prioritizes Yugi’s feelings over her own.
She knows that if she were to openly confess to Atem, it could deeply hurt Yugi, who has always been there for her. This hesitation isn’t about doubt; it’s about kindness.
Why Yugi supports them
One of the most fascinating aspects of this dynamic is Yugi’s own role in it.
Despite his own feelings for Anzu, he actively encourages her to spend time with Atem, believing that it will help the Pharaoh feel more connected to their world.
And he’s right—Atem does open up more when he’s with Anzu, becoming not just a king or a protector, but a person.
Yugi’s actions can be interpreted in multiple ways.
On one hand, he may simply believe he doesn’t have a chance with Anzu and steps aside out of selflessness.
On the other, Yugi is deeply empathetic—he understands people better than they understand themselves. Perhaps he sees something in Atem that isn’t explicitly stated: a growing attachment, an unspoken longing. It’s possible that Yugi recognizes Atem’s feelings before even Atem himself does, and rather than stand in the way, he allows things to unfold naturally.
Unlike Yugi, Atem is restrained—both by his nature and by his role. People often forget that he is a Pharaoh, a figure bound by duty, where personal attachments have no place.
What makes this even more compelling is that, while Atem and Yugi are opposites in many ways, they are ultimately two sides of the same person. This likely extends to their emotions as well.
If Yugi harbors feelings for Anzu, it’s not unthinkable that Atem does too, even if he is less outwardly expressive about them.
Atem embodies the full weight of that responsibility, to the point where his entire existence is dedicated to protecting others, often at his own expense.
Why Revolutionshipping makes more sense
In the Yu-Gi-Oh! fandom, many fans explore different pairings and relationships between characters. Some of these relationships are clearly romantic, like Yugi’s feelings for Anzu or Jounouchi’s affection for Mai. Even Kaiba’s attachment to the Blue-Eyes White Dragon has romantic undertones, given his past life connection with Kisara. However, when it comes to Atem, there is no definitive indication in the series that he shares romantic feelings for anyone.
Atem’s connection with Yugi is unique and deeply emotional, but it is more akin to that of brothers or two souls bound by a shared destiny. Their bond transcends friendship, but it is not romantic. The connection between them is based on mutual respect and the understanding that they are two halves of the same soul. Their relationship is rooted in a deep, almost spiritual link, rather than any romantic tension.
When we consider Atem’s historical context, things become clearer. Atem is not only the spirit of a pharaoh, but also the reincarnation of Tutankhamun, who was married to Ankhesenamun.
As a ruler in ancient Egypt, Atem’s life and role would have been defined by the expectations of his time—marriage and the need for heirs. This historical perspective further supports the idea that Atem’s connection is naturally inclined toward a romantic bond with a woman.
Given this, it makes more sense for Atem’s romantic potential to lie with someone like Anzu. While Atem never explicitly expresses his feelings in the series, their growing bond over time suggests a connection that could develop into something deeper.
Anzu, with her unwavering support, helps Atem confront his past and come to terms with his destiny, making their relationship one that holds the potential for love.
A love that could never be
Revolutionshipping is a story of love that was never meant to happen. Not because there was no connection, but because fate simply did not allow it.
Atem’s duty was always to return to the past, and Anzu’s future was already planned in the present.
But perhaps that’s what makes their bond so powerful.
It is a love that exists between two people from different worlds—one that could have been, if only time had allowed it.
And sometimes, the most unforgettable love stories are the ones that never truly had a chance.
I’m back with #revolutionshipping and #FarewellDoujinshi!
Since November, I’ve been deeply immersed in the Farewell doujinshi.
I’ve created new chapters, started designing the cover (still in progress), and nearly finished coloring this drawing.
I’ve also resumed my research, including another visit to the museum in Turin to get to know more about Deir el-Medina.
The final chapters are set in the artists' village, Deir el-Bahari, and the Valley of the Kings (KV62).
There’s been so much happening behind the scenes for this project!
I initially planned to wait before sharing anything, but after all this work, I decided it’s time to give you a small sneak peek.
Keep in mind, these images aren’t complete yet—shadows, lights, and the original background (in Deir el-Bahari) are still missing. For now, these illustrations are presented more like wallpapers.
I’ve also experimented different styles for these visuals to see what resonates best. I’ve added the original pencil sketch too.
This particular scene happens right after Atem reveals something special.
They are standing above Hatshepsut’s Temple at Deir el-Bahari.
I’ve been working hard to make this as historically accurate as possible.
This doujinshi isn’t just about Atem and Anzu; it also explores the 18th Dynasty, Thebes, Aten, Tutankhamun’s family, Egyptian cosmogony, and many interconnected themes.
Here’s a little glimpse of what’s to come—hope you enjoy it!
Goku and Bulma really complete each other, and they get along so well.
Bulma always knew how to make Goku feel good, while Goku was the trustworthy, reliable person she was seeking for. Not to mention, they have great chemistry when it comes to jokes and cheering up.
In this piece, I imagined Bulma had been alone for a while and had the chance to meet up with Goku for a very long conversation, reminiscing about past adventures and feeling nostalgic about them.
She can't help the feelings she's been hiding for him ever since Goku grew up, and they come alive like fire. She curses the day Chi-Chi showed up at the tournament and the prince she had been dreaming of slipped from her grasp. Even though she is happy with Vegeta, she can't forget he came to her as a substitute for the guy she fell in love with first.
As they flip through the photos, Goku senses the true heart he put into those years—the long-forgotten feeling of adventure. It all began with her, Bulma. Without her, nothing would have happened. He would probably still be living alone in the mountains.
Before leaving, Bulma calls out to Goku and hesitates.
She wants to tell him, now that they are alone with no one around, but she can't.
She can't be that direct. Her stomach is in knots.
She can't avoid it, she must tell him somehow. And so she comes up with another approach.
The rest is left to your imagination. 😛
P.S.: I know you hated romance, but Dragon Ball nostalgia struck just a few days before you left for good, Sensei. This is my personal way of thanking you for everything: Dragon Ball truly is the only thing that makes me happy whenever I think of it.
You gave us something really precious.
! To understand this script, it is necessary to listen to:
ГРАЙ - Прощание/Farewell (Official video)
https://www.youtube.com/watch?v=ZB7z6MYzVUc
(no commercial or profit use is intended, just its emotional content)
The script is written in bold font – the song lyrics in italic format are translated from Russian.
0:00 - 0:17
Thorfinn (at 28) walks on the black beach in southern Iceland next to his home [camera with a very long shot flying from behind his back and approaching him, till crossing him.] + Title Прощание
He looks towards the harbor where his longship is, watching the neglected sails and he stares at the sun in front of him with a wide shot on the sea behind the ship [his eyes are lightened up by the sunlight - framed from the bottom side left-].
0:17 - 1:09
Hot flares will paint the grass red,
(The sun is setting on the beach; Thorfinn looks at the infinite land/mountains behind him *camera rotates 180° along with his back*, various colors paint the black mountains - marked in red -)
Southern winds will feed the fire so fast,
(Warm winds sweep the grass on the coast and he looks towards south up to Denmark from where colorful stormy clouds are coming in - painted in pink, yellow, lilac and orange -)
The funeral birds float silently,
(He looks at a geirfugl -bird- on the shore and it turns into a crow flying above the house where Askeladd was killed)
My hand is clenching a handful of the past.
(He finds himself as at 18 on top of Askeladd while he is dying and tugs at him desperately)
The sunset will leave lasting scars on the heart,
(As he gets taken away by the two soldiers out of the house, the sun is setting down)
A moan will scare the magpies off the branches,
(Thorfinn screams in pain and magpies – mythological Nordic birds – fly away from the branches and the roofs as gets dragged.)
And the thunderous rook-clouds*
(He returns back to the current reality and sees the rain approaching along with the drakkar-shaped clouds - they are red and blue -)
Will scatter your ashes in a lisping rain.
(a sudden thunderstorm strikes and he gets wet in the colorful rain as if it were a rainbow)
1:10 - 1:25
He 'opens up to the wonder of the world' with open arms and his face upwards trying to capture the rain on his skin. The wind is blowing through his hair and he slightly smiles enjoying it as a liberating act.
He sees the longships coming closer to the shore as in a dream and he seems to see *closely * his group of mercenaries with Bjorn, Torgrim, Atli, etc. on board.
1:25 - 1:43
Askeladd’s ghost glimpses on his right – he is setting out and reaches the shore with the wolves; Thorfinn raises his hand trying to call him back.
He turns to him while standing directly on the shore and looks at him first with a father-like expression and then smiles at him, after that he walks off.
1:43 - 2:00
Going with packs of wolves into the distance
(Thorfinn sees Askeladd following the wolves going towards the twilight onto the sea)
Do not repent, my thoughts are with you.
(Thorfinn sees with vivid eyes the memories of Askeladd’s "kindness" as a young boy when he was with him - then closes his eyes as an adult in a sad way)
Through the veil of silence and rain
(He abandons himself under the silent rain and sinks on his knees while shedding some tears)
Your very long journey is foretold by destiny.
(Thors appears and puts his hand on Thorfinn’s shoulder being now a child looking towards the harbour from behind)
2:00 - 2:16
Thors kneels and shakes Thorfinn’s head *shot from behind*
Thorfinn looks at him *from the front* as a teenager, Thors wipes a tear from his eyes *close-up*
2:16 - 2:50
Time has frozen, there is nothing inside.
(Thorfinn - 20 y.o. - is walking at midnight towards the slave group who is celebrating around the fire; he has an empty look)
The gusli will cool down the farewell pain.
(There is sitting Einar in a circle with other slaves singing and playing the gusli and Thorfinn loses himself while staring at the flames and his thoughts get scattered)
Walking through midnight don't look back,
(He falls asleep in his nightmares and sees himself at the top of the people he killed hanging off of him)
The eyes will soak up the salt of oblivion.
(He tries to climb up to the exit as he remembers suddenly the scenes from the past when he killed them)
2:51 - 3:08
The sunset will leave lasting scars on the heart,
(The sky clears up and Thorfinn stands up a bit sorrowful, Karli smiling - he is 8 - comes from behind and bumps into his legs)
A moan will scare the magpies off the branches,
(After him follows Gudrid with the little 4-year-old Snorri holding her hand; she smiles at Thorfinn)
And the thunderous rook-clouds*
(Thorfinn starts to head back home after them but stops and turns around again)
Will scatter your ashes in a lisping rain.
(While looking to the East he sees the longships disappearing into the darkness, Askeladd and Thors are on board along with all the dead spirits – they are departing far away)
3:08 - 3:40
The rain and the rainy clouds go away with them like dusk - they are blue like fog with many stars, as if they were a bit fairy)
Thorfinn looks at them with positive melancholy, lingering at the ships *towards the camera* with the wind still blowing on his hair - then smiles; the camera films him then from afar as he enters the house.
Trivia / script information:
Concerning the location where Thorfinn (at 28) is, I didn’t choose Reynistaður or Glaumbær in Skagafjörður in Northern Iceland as it happened in reality; like in the manga he is in Southern Iceland around Hof area, on the coast, as he walks on the black beach
[more or less the coordinates are: 63.798955, -16.642144].
I wanted to give credit to the first season, strengthening Askeladd’s value to Thorfinn and letting space for his dad too.
I developed the script as if I already knew how the whole story ends before its actual end (Yukimura’s), by taking inspiration from Thorfinn Karlsefni’s actual historical life after returning from Vinland.
Thorfinn in this script revisits his life journey from his youth till his return from Vinland; this journey is also meant to be a ‘spiritual’ one.
Iceland is the point of departure as well as the final end point for Thorfinn.
Since the script is set to be after returning from Vinland, here appears Snorri Thorfinnsson too. Snorri is intended to be the son Gudrid and Thorfinn will have in Vinland, while his brother Thorbjorn (who according to history should have been born much later) in the manga is meant to be (?) Karli. Karli is older than Snorri in this case.
I previously thought about Karli being 6 years old here, the same age Thorfinn had as he left Iceland, but when they arrived to Vinland, he was 4, so he must be around 7 or 8 here.
The geirfugl is an ancient bird, extinct nowadays in Iceland (XIX sec.). I could have chosen (Icelandic) crows as the lyrics state, but as reading through the typical Icelandic birds I felt like picturing an ancient bird for a medieval story was fitting more.
*ладьи-облака – rook/longship clouds: since I was not sure about what was meant, I found “crows”, “towers” and “longships” as a translation. I decided then to profit from this imagery in a mixed way.
*The song I chose for this script is from a Russian folk band. I would usually use another song from current neopagan folk bands from Scandinavian countries (there are actually many famous bands out there, I can’t alas type their names here) but this one had really a beautiful melody and the right lyrics and ‘picture thoughts’ flew in my mind perfectly.
The script is written by me (Marica Regina).
Esame del secondo anno... Finalmente è finito!!! In pratica le mie prime tavole decenti anche se piene di errori 😅 #scuolainternazionaledicomics #fumetto #esame #tavole #ink #panels #euromanga #man-ita #italiancomics #errori #olavaolaspacca #漫画 #イタリアン #イタリアの漫画 😁 (presso Garbagnate Milanese) https://www.instagram.com/p/CP_WYSAhzHN/?utm_medium=tumblr
