Williamson has a surprise in him. Birthright has it’s big surprise, of course, the big overall one, but Williamson totally changes the series with the last scene and it’s pretty cool. Birthright, just because the concept is so defined, occasionally feels like it can’t surprise. Even when it’s really good, it’s because Williamson’s doing really well with that concept.
Not here. Here, he shows he can surprise and give the series even more depth. Very cool.
And Bressan gets a hard job–visualizing an “imaginary friend”–and does really well with it. The way the scenes work have the character staggered; on the first appearance, it seems like a big misstep for Bressan. But during the second scene, it’s clear his design is perfect.
There’s a lot of exposition during the fight scene, both from the people in the know and the people not. It’s all just fantastically well-executed.