In this episode, directed by Imogen Waterhouse -our once great queen Gwynn-, our friends try to prevent the tough and mature Tobin and Falista from fulfilling the will of the so-called divine beings who flood their minds with visions with precise instructions to obtain the only thing that matters to them, their precious kinjs, while along the way they discover and learn more about these pale, horned creatures with black blood. All We Do is To Say Goodbye is a brilliant and eloquent episode, a chapter with a frenetic rhythm that leaves the viewer with honey on the lips and that, above all, is an episode of characters, fully focused on their concerns and in their decisions, which will mark them psychologically.
Some of them, as it often happens in the theme of this season, face constant dilemmas that force them to decide between what they themselves consider correct, and what their peers think should be the ideal according to their traditions or their culture, as is the case with Wren. Her last Blackblood companions pressure her to act as the High Priestess she should become as the sole heir of Yavalla, since the knowledge and history of her people are passed down from priestess to priestess and. If she refuses, not only her survivors life will be in danger, but also their memory, which provides lessons for the future.
To be Yavalla's first-born, Wren received neither great affection nor great support from her mother, perhaps precisely due to the fact that blackblood priestesses must avoid being mothers and the transfer of knowledge is carried out by other means than the blood. Nedra, a childhood friend of the brothers Zed and Corven, is against blackblood children receiving mixed education, which motivates Wren to carry out even more eagerly that position for which she doesn't feel at all prepared, because she doesn't believe in magic as much in the human science. But above all, Wren trusts Janzo, and knows that the mistakes made by the ancestors of the people who forced their people into exile in the Plain of Ashes cannot be blamed, because that implies misjudging innocent people who had nothing to do with those dark events. Basing the education of the later Blackblood children on the customs and traditions of the Blackbloods is meaningless in a shared world where they have to coexist with other races and which often severely punishes tribalism. Therefore, Wren is determined to find a balance between her spiritual responsibility and her duty as a mother, because she is not only the mother of Janzo's son, but also the alma mater of her people, in the most transcendental sense of the word. Education, dialogue and interculturality are the pillars on which Wren wants to support the future of Blackblood society.
We ignore most of the secrets of the Blackbloods, but with the help of Janzo, Wren and Luna, we have learned a little more, because if there is one thing that distinguishes this chapter from the previous ones, it is because of its high content of mysteries and findings. Janzo, determined to unravel the enigma of the Skevikor key, finds next to Luna a cavity that houses a colossal hive of dormant chrysalis that contain strange creatures very similar in appearance to the gods. Somehow, the jambs of the portal illustrate as vignettes what appears to be the story of the exile and origin of the Blackbloods, curiously linked to Luna's training in the Dragman Sanctuary. All this, together with the telepathic instructions issued by Tera, Janya and Vorta to bring Tobin and Falista to their presence in the capital, suggest that the Skevikor could be an artifact destined to awaken the beings that doze in the Gallwood crypt, whose souls seem to reside in the bodies of Tera and Vorta. The dragmans would have been in charge of hiding it or keeping the secret of its location, which invites us to think of a time of wisdom and cultural exchange between humans and blackbloods hundreds of years ago, long before the banishment of the pointed ears people.
All We Do is To Say Goodbye involves personal resignations and changes in the thinking of each character, even taking other directions that could separate them. A goodbye without going back. Until now, Zed had been silent and tolerated with more or less jealousy and reluctance the love affair between Talon and Garret. However, now the warrior questions many things, and one of them is Talon's responsibility towards his people. Zed has always been a loyal and obedient soldier who needs to put his finger on the wound to believe something foreign to his conscience. Not that of his is exactly a declaration of love in captivity, but in some way or another, he justifies the need to join Talon in perpetuating the blackblood bloodline. However, Talon is very clear about who he really loves and will not put the customs of his people before her own desires, but neither will the whim of a man over the well-being of those around her, which translates into a strong blow for both Zed and for Garret, the latter eager to finally rejoin her after once more outwitting the guards and the bars of Gallwood. Talon and Wren try to be understanding and understand other people's point of view. The difference is that Talon wants to find happiness and build a new future for herself regardless of her own past.
Each dawn implies a new dusk, and this in turn is the prelude to a new day. Shadows and lights dance in Tobin's heart. The light of his destiny as king of Gallwood and the shadow of his love for the indomitable Falista have prompted him to rebel against anyone who violates both wishes. Blinded by such sins, he has abandoned his most loyal friends and learned to believe what he would never have dreamed of as a child. The evolution of his character is noticeably palpable in this episode, especially in that face-to-face duel with Talon and Garret on the outskirts of the camp, a scene as dramatic as intense. Tobin has just made a critical decision: he leaves Gallwood's fate in the hands of Garret Spears by giving him the ring as a symbol of his commitment. Deep down, what Tobin wants most is to be by Falista's side and he is willing to take any risk in order to enjoy her company, even if that may mean his own death.
Even if he doesn't officially state himself, Tobin's gesture actually constitutes a personal resignation. It's an act of compassion and loyalty towards Garret as a good friend of him, and a goodbye, as his ways separate. But even that doesn't assure Garret a triumphant kiss from Talon, and it's hard to discern what their feelings are. The relationship between the two protagonists has turned cold, perhaps because Talon grudgingly acknowledges that Zed is right and her duty should be to take care of her people, or because accepting responsibility means choosing a different path than someone else wouldn't have choosen ... Who knows! The romantic swings between Talon and Garret are increasingly oscillating and there is no doubt that some behaviors of the Sir Knight have been reprehensible. It's as if Talon doesn't trust him anymore or prefers to distance him from her because she thinks that her obligations entail carrying banners of a different sign and color.
When Luna asks for an explanation for her refusal to have Garret accompany them to the sanctuary, Talon paradoxically uses the excuse that both of them have more in common and that Luna seemed uncomfortable having to relive bitter memories in that place. Talon insists that she is her friend, but what friendship can be formed if there is no mutual trust? Talon is not even able to being honest to herself and despite everything she demands trust from others.
Talon's reaction in the woods, much to Zed's amusement, perplexes Garret, who will rightly wonder what fly has bitten his girlfriend. We don't know how it will affect him from now on, but one thing is for sure: if Garret had put right before duty, and even love before right, perhaps now, love evaporated, he will focus more on his duties regarding the kingdom Tobin has given him in his absence. Maybe Garret should say goodbye to Talon...
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