Title: The Changeling Game (Formerly Identity Theft)
Author: Ardath Rekha
Chapter: 98/98
Fandom: Pitch Black (2000); The Chronicles of Riddick (2004); The Chronicles of Riddick: Dark Fury (2004)
Rating: X
Warnings: Adult themes, controversial subject matter, harsh language, strong sexual content
Category: Het
Pairing: Riddick/Jack
Summary: Afterword: Notes and Acknowledgments
Disclaimer: The characters and events of Pitch Black, The Chronicles of Riddick, and The Chronicles of Riddick: Dark Fury are not mine, but belong to Universal Studios. I just wish I were in charge of their fates. No money is being made off of this. I’m writing strictly for love of the story.
Feedback: Absolutely, the more the better! Shred me, whip me, beat me, make me feel grammatical! I post “rough,” so I can always use the help. 😉
Afterword
This has been a really wild journey for me, with a whole lot of twists and turns along the way. Thank you to everybody who decided to accompany me on it.
Some twenty-plus-year-old backstory first…
This story began on the Rhiana Griffith Fan Club as an act of rebellion… and self-therapy of a sort.
A lot of fans of Pitch Black, and its ensemble cast, felt our places in the fandom got subsumed when one of the cast members, Vin Diesel, rocketed to stardom a year later behind the wheel of a muscle car. Within a matter of months, virtually all the Pitch Black fansites converted into Vin Diesel fansites to stay relevant in his exploding fandom, and the rest of the cast, and their fans, became afterthoughts within a community that had been a lot more egalitarian when I first discovered it.
I got pulled into co-modding one of those “Vin” sites by some fans of the stories I was writing; later, when its webmistress decided to step down and wanted to name me as her successor—right, ironically, as I was planning on stepping away from Vin fandom and focusing on creating a site for Rhiana Griffith/Jack fans—I put aside those plans and took over running Art of Vin Diesel, prioritizing an already existing community over the one I’d wanted to create. As much as I love all the friends I made on AoVD, that decision became one of my biggest regrets.
I still wonder, from time to time, whether it would have made a significant enough difference if the site I finally began building a bit over a year later had come into existence then, if Universal Pictures would have dared treat Griffith so shabbily if her fanbase had been more visible at the time. Thanks to my position of running one of the “big” Vin fan sites of the period, I ended up privy to a lot of the insider gossip about what had happened behind the scenes during Chronicles of Riddick preproduction, something that really soured me on Hollywood, Universal, the nascent “Riddick franchise,” and even Vin himself for a while.
Although there was no question at all that he was reprising his role, and Keith David was handed his part back, Rhiana was forced to re-audition for her part and, even after she won it hands-down and planning was already beginning for her to travel to the northern hemisphere for shooting, it was subsequently taken from her before contracts could be signed and given to another actress. The news of the casting change slowly leaked out as fans learned that a character named Kyra, who might or might not be connected to Jack, was being played by Alexa Davalos rather than Rhiana Griffith.
Most of us knew Davalos, at that point, as the chronically underdressed electrokinetic thief from the TV show Angel, where she’d been portrayed as a sexpot and had displayed a lot of over-the-top combat moves, and the idea that those were the characteristics that might have recommended her as a continuation of Jack didn’t sit well at all with much of Jack’s existing fanbase. Plus the two actresses looked and sounded absolutely nothing like each other. We held out hope that maybe Kyra was an unrelated character, or that the casting change had been necessary because Rhiana hadn’t been interested in reprising the part, until the news broke in October 2003 that Rhiana had been forced to audition for that very role only to be denied it.
When backroom chatter indicated that she’d lost the role in part because Vin had used up all of his producer-level influence with Universal securing Judy Dench and Colm Feore for the film, and hadn’t saved any of it to help defend Rhiana’s right to reprise her character, I was done. I wanted out of Vin fandom and away from all the gossip about a movie I’d gone from anticipating to dreading. It took me another five months to get my partners at AoVD to let me go, though, and that only finally happened when I got so fed up that I told them they had 48 hours to find a new webmistress or I was pulling the plug on the whole site; in the meantime, I built the Rhiana Griffith Fan Club and finally decamped to it with other Rhiana fans who wanted to focus on nurturing her career in the face of that major setback instead of continuing to invest in a fandom where we were clearly unwanted afterthoughts.
After the film came out, to combat a lot of the actual depression Jack fans were feeling on RGFC over how she had been drastically altered (almost none of the hallmark personality traits she’d displayed in the first film still existed), repudiated (the whole “Jack is dead” speech felt like a slap in the face to many of us), used as little more than a MacGuffin, and then killed off, I posted a writing challenge which I called the “CoR AU” challenge: write stories in which, in spite of everything we saw on the screen, Kyra turned out not to be Jack after all.
That was honestly easier than it ought to have been. In spite of the insistence of major players in the production that Kyra was a continuation of Jack, they had done a whole lot to sabotage their own claims. They had cast a woman who looked and sounded nothing like the original Jack performance—there is literally no facial feature that Alexa and Rhiana have in common (aside from having all of the ones you’d expect on any human face), and Alexa’s voice is more like Fry’s than any other female character in the first film—and then, in addition to giving her a completely unrealistic and improbable sketch of a backstory to try to explain all the changes, they made her blow her lines every time she tried to do a callback to the first film. Then, at the eleventh hour—possibly as a sop to Rhiana fans—they actually cast Rhiana, as Jack, in the anime short The Chronicles of Riddick: Dark Fury, something that had an effect of disconnecting Jack and Kyra further for us rather than “bridging the gap.”
So we decided we were going to write all the ways that Kyra didn’t have to be Jack, and could still turn out not to be Jack in spite of everything that had been seen onscreen. Some among us held out hope that maybe it could even influence sequel plans if the stories were plausible and popular enough, although it quickly became clear that the film was tanking too hard at the box office for those sequels (at least, as they were originally envisioned) to happen anyway.
My challenge had a few rules, but the two most important ones, which I brought to this story, were: first, we would treat what had been seen on the screen itself as incontrovertible (what people said, what people did, etc.) even if we were allowed to twist what those moments had meant around and could ignore all of the “rules” that tie-in materials imposed, and second, we would never make Kyra into a villain. A lot of us, definitely including me, were struggling hard with the impulse to blame Alexa Davalos for what had happened (thanks so much, Western Internalized Misogyny!) and we’d decided that it was important to portray her Kyra sympathetically to counter that, even if we couldn’t accept her as a continuation of Jack.
That was the environment in which I began writing a story I initially called Identity Theft, trying to reach for positivity in the midst of the free-floating negativity we were dealing with and trying to find a way past. I floated a lot of ideas of how Kyra could turn out not to be Jack during that period of time, but this was probably the most complicated; most of the rest were one-offs.
But by early-mid 2006, I was vanishing from fandom, and although I continued to maintain the RGFC, and even ran tech for my friends who had taken over AoVD, my writing slowed to a halt. Mostly that was because I was back in college, working on completing a degree, and the Honors program was so demanding that virtually everything I was reading and writing had to be of an academic nature.
Aside from a crazy plot bunny in ’07 that resulted in the first few chapters of Falling Angels (a story that actually borrows a few themes and ideas that I either used, or planned to use, in this tale, since I wasn’t sure I would ever expand on its original 16 chapters) and a later intense bout of writing that resulted from watching the film Prometheus right after taking a graduate course on Middle Eastern Epics and Assyriology (and yes, I will get back to writing Forbidden Gifts soon, I swear…), my unfinished stories got shelved. Meanwhile, the sites slowly went quiet as first Undergrad and then Grad School sucked away all of my free time, while fandom moved from stand-alone sites to social media platforms.
Although Rhiana has never gained the high acting profile her fans were wishing for (in part, selfishly, so we would have more pictures of her to use to create fan art and “book covers” for our stories), she has had a wonderfully successful and happy life. She’s an internationally renowned fine artist whose works have had numerous gallery showings and been sold to collectors around the world, she has a Master’s degree and is a licensed art therapist who uses the creative process to help children work through traumas and behavioral issues, and she’s raising a wonderful daughter.
All of that is stuff that a Hollywood career could have nixed, and God knows, after “Me Too,” I think she may even have dodged a bullet, but part of me still resents that the decision of whether to reprise her character was taken from her, and that the doors such an opportunity would have opened got slammed in her face instead. It still chafes me that Hollywood (then and now) has a habit of treating women (real and fictional) like Kleenex—disposable, replaceable, and indistinguishable—and treating Vin’s fans as too busy thinking between their legs to care who or what else is on the screen as long as he’s front and center on it.
Those mindsets, in my opinion (aside from the fact that they were trying to sell fans of The Fast and the Furious and xXx on a space fantasy at the expense of many of the original Pitch Black/Riddick fans), is a big part of why The Chronicles of Riddick did poorly enough at the box office that Universal shelved the planned sequels until Vin, himself, ransomed the franchise back from them by agreeing to reprise the role of Dominic Toretto. That was the character they had wanted the whole time. And, honestly, Vin’s Riddick portrayals outside of the one in Pitch Black have left me cold, seeming less like the original Riddick than “Vin Diesel is Dominic Toretto/Xander Cage as Riddick.” I’ve tried to bring back the Riddick I actually found compelling in my “CoR AU” stories, instead.
During the height of the COVID epidemic, while I was recovering from Long Covid and didn’t have the strength or energy for a day job, I decided I needed to figure out what to do with the websites I was still, more or less, maintaining, but which had fallen into extreme disrepair. I officially still own the AoVD domain name and webspace, along with RGFC and my own website, but it had been so long since I’d done much with them. I had been in the middle of earning a PhD when COVID essentially killed it, even if it spared me, and hadn’t had time to read or write anything unrelated to my aborted dissertation in years.
When I mentioned to some friends from fandom days that I was thinking of shutting the sites down completely, they convinced me instead to keep them and to at least try to revive the portions of them that had been about the communities that had been built and the works of art (visual or fictive) that had been created. Bringing that back is still a long-term project, hampered by my own schedule (a full-time job + residual Long Covid damage = not much free time, and my own writing gets first dibs on that) and the fact that most of the others who could help me have little time of their own to volunteer anymore. I decided to test out the feasibility of it all with my own webspace, which was by far the smallest of the three, and my own art and stories. In the process, several of my writing muses woke up and demanded attention again.
It wasn’t long before this particular muse took over and began running me ragged. That said, once I complete this story arc and finish my other incomplete works, I doubt I’ll have any further contributions to the “Riddick’verse.” Not unless they bring the Jack who inspired me in the first place—Rhiana’s Jack—back somehow, which I gave up hope of long ago.
The Evolution of the Story
During the first few months that I was writing Identity Theft, as it was originally called, it had a much smaller scope. It was going to be, simply, a tale about Jack going to a psychiatric facility for treatment, encountering a “Riddick fan” there and, after the two bonded and shared stories, discovering that her friend Kyra had begun to over-identify with her run with Riddick. The two were going to escape together from the facility, and after Kyra was injured (gaining the scar next to her hip prominently displayed in some scenes in CoR), Jack would spend the entirety of her recuperation telling her such detailed accounts of the events of Pitch Black and Dark Fury that they became, in Kyra’s head, something she’d personally experienced. Then the two separated, with Jack returning home and discovering that the unpleasant circumstances she’d fled were the lead-up to the birth of the baby sister she’d always wanted (yes, that plot point really was 20 years in the making). Kyra, meanwhile, by overidentifying as Jack, would get caught by mercs hoping to use her as a stalking-horse for finding Riddick; when they realized she had no connection to him in spite of her beliefs to the contrary, they’d slave her out as she had claimed in the film.
Things got more elaborate the deeper I went, though, because I began planning out the sequel I wanted to write, covering what happened once Riddick and Jack were reunited on the Basilica, and my plan for Song of Many ’Verses, and the galaxy-shaking mystery driving its plot, was born. That included having Jack develop a connection to multiple universes, and that she and Kyra would already have connected to a separate ’verse during their run together.
I should put a shout-out to Christopher Stasheff here, because there’s a moment in his novel A Company of Stars that inspired me: a grizzled space captain, helping a theatrical company pick out a ship to buy for their interstellar touring itinerary, reacts in horror to one of the ships, pointing to its hull’s unique “crinkled” finish as evidence that it got trapped between universes at some point and barely made it back. The idea of Jack and Kyra being on board a ship that something like that happened to, and that left them straddling two universes and struggling to survive in both, inspired the whole second act of my planned story… even if my writing time went away almost completely before I could actually get to it.
Most of the events that have occurred in the …holy shit… 97 chapters are things I originally planned out in ’04 and ’05, believe it or not, but two areas that definitely got significantly more development as I picked the story back up were the time Jack and Kyra spent on Tangiers Prime and how/why Jack transformed, after her return to Deckard’s World, into the fearful and distrusting person we met in the opening chapters even as she simultaneously developed powers on the same level with any of the major players of Chronicles. I also realized I needed a whole lot more space to develop the mystery of the Apeiros, who hadn’t yet been introduced when I stopped writing in 2006, and—oops, spoilers, can’t tell you what else yet… but a lot of what happened on Tangiers Prime figures heavily in future events of Song of Many ’Verses, and I realized I needed to set more of it up before returning to the “frame story” if I wanted the eventual outcomes to feel naturalistic and earned. I guess I’ll talk more about those elements in that fic’s afterword.
But I sure as hell didn’t expect it to turn into a 400K+ word monster. That’s blowing my mind a little. Still, I’ve loved every second of writing it.
Names, Places, and Canonicity
So here are the rules I follow in this story: If it happened onscreen in the Director’s Cuts of Pitch Black or the Chronicles of Riddick, or onscreen in The Chronicles of Riddick: Dark Fury, it’s canon and I won’t contradict it. Everything else is optional. Everything.
The makers of the Chronicles of Riddick set that in motion by retconning TF out of the extended materials connected to Pitch Black, which had included elements such as Jack originally being named Audrey (and described, in the tie-in novelization, as looking exactly like Rhiana had in her prior film, 15 Amore) along with a general lack of supernatural elements even if Riddick himself may have come across as a little preternatural. Riddick, meanwhile, had multiple contradictory backstories depending on which tie-in you consulted, all of which were then swept aside for the Furyan backstory. If they can cherry-pick, so can I.
So Jack’s “real name” remains Audrey, Kyra has her own new backstory and lineage that has nothing to do with any of the tie-ins, and the Lord Marshal gets to keep his “Zhylaw” name but the B in Riddick’s name now stands for “Booker” instead of the WTFery of “Bruno.” If you see something that contradicts what you “know” about the franchise canon, it’s very likely something that never made it onto the screen in the first place and only has legitimacy through tie-ins that the majority of filmgoers have never seen. (Those tie-ins can enrich a fan’s experience of a film, yes… if the studio continues to honor them…) And whatever Furya is due to appear on the movie screens sometime in 2025 will have nothing in common, in all likelihood, with the one I’m depicting in The Changeling Game and Song of Many ’Verses.
I decided, shortly after I picked the story back up, that it needed a new title. Identity Theft had been appropriate when I wrote the first few chapters, and it was a smaller-scope story involving a mentally unbalanced girl overidentifying with Jack, to the point where she accidentally set herself up for the worst possible fate that might have awaited Jack herself. As the story grew in scope, and as I became increasingly charmed by the Kyra I was writing and the sister-bond she and Jack were developing, it didn’t fit nearly as well. I began to think about a title that would be better suited to a story about a pair of girls with multiple identities and personas, and an identity that wasn’t necessarily tied to either one of them. I went through a bunch of possibilities and decided that this one worked best for the course the story was taking, and its themes of protean identities, shared aliases, and reunions being upended when they’re with someone who either is no longer the person everyone expected, or never was that person to begin with. So Identity Theft became The Changeling Game in July of 2024.
Some of the locations in the story are tied into canonicity, while others are my own creations. The Hunter-Gratzner was “en route to the Tangiers system” according to Owens in Pitch Black, and many of the early tie-in materials made references to planets and events in that system that connected to Riddick. I went with a similar naming structure as planets in the Helion system apparently use in CoR, with the main in-system colony world being “Prime” rather than numbered. At the same time, I decided to play with hints that other naming systems are frequently used, especially since I had already named Audrey’s home planet “Deckard’s World” before I began exploring naming conventions. And, since CoR portrayed “New Mecca” as a stop on a rail line at one point (or at least a transit station serving as a shelter during the invasion), along with having the locals insist that their world was extremely multicultural, it became an ethnic suburb of Helion Prime’s big city, which I named New Athens in keeping with the idea that naming the star Helion (as opposed to, say, Shams, شمس, which is the Arabic word for the sun) pointed to a Greek base for the colony. So I’ve had a lot of fun playing with place-names throughout the story, and most of them have specific meanings and significance. The two moons over U1’s version of Tangiers Prime, for instance, are named Qamar (قمر, Arabic for “moon”) and Taziri (ⵜⴰⵣⵉⵔⵉ, Tamazight for “full moon”).
I actually put together an appendix of all the names, places, dates, and vocabulary in this monster-story, but the damn thing is ginormous and nearly novel length itself. It even has an hour-by-hour (in places) timeline I constructed to keep track of what happened when (a total necessity when your characters hang out on a planet with 44-hour days but you’re trying to keep track of how much your main character is actually aging and when her next birthday would be, OMG). I definitely need all of the references to keep things straight, and had to go back and fix a few things once I’d put it together. Maybe after both stories are concluded, I’ll put it up, too, as a tie-in. (If I put it up now, there’d be way too many spoilers for Song in it.)
Soundtrack
Wouldn’t you know it, I had a whole playlist of music that I listened to, and connected to, as I was writing this. A kind of soundtrack formed for me. It originally started with the song “Ordinary World” by Duran Duran, which back in ’04 was about Audrey shrugging off her wild adventures and returning home to her family with no intention of leaving Deckard’s World again (although she ended up being far less “ordinary” upon her return than I’d originally planned!) and developed from there. So here are key tracks (and links to where you can listen to them on YouTube) that influenced me and helped me set the right mood as I was writing:
- “Lorretine” by Clan of Xymox – A kind of all-purpose theme melody for the story. Especially with the beginning suggesting something rising up out of the darkness, and the end effect that makes me think of a celestial body arcing away and escaping.
- “In the Shadows” by Amy Stroup – I have a tendency to visualize Riddick carrying an unconscious Jack into the Chamber of the Quasi-Dead (no, I will never treat “Deads” as a real word) during the opening bars, meditating over her and delving into her mind, and envisioning a variety of moments from the story as the song unfolds. There’s a moment right before the final chorus that makes me imagine the Scarlet Matador making its final descent into the phantom waters of New Marrakesh.
- “I Feel Love” by Donna Summer, as performed by (of all things) the Riverdale Cast – I know, I know, but somehow this became the “escape from the hospital” theme for me, maybe due to the frenetic synth pulses, and also a song about sister-bonding (I have an even more improbable song about sister-bonding here, too, LOL) and the connection that begins to be forged between Jack and Kyra during their run together… symbolized by the way Ashleigh Murray and Camila Mendes weave their voices together in this rendition.
- “Salt in the Rainbow” by Duran Duran – yeah, this is one of three Duran Duran tunes in the list. The song never made it onto any of their studio albums after bootleggers got hold of this early cut, so it didn’t get smoothed out and shined up the way a lot of their materials do, but I love Nick Rhodes’s synth work on it and it fits into the shining moment where things are going really well for Jack and Kyra, their bond is strengthening, and the power building between the two of them feels like something that can take on anything. When I went back to get the link, I found other, more “polished” versions, but this one, with the chorus of “we are forever,” is the one that inspired me.
- “Thank You” Led Zeppelin, version performed by Duran Duran – In my head this is, instead of a love song from a man to a woman, somehow another sister-bonding song for the story. The opening sounds made me visualize Megaluna hanging over the King Tide in Chapter 23, making the waters glitter, and the moment when Jack realizes that her bond with Kyra has transcended friendship and the two of them have become sisters. It’s an odd choice, I know, but it helped me get into the right mindset for writing a lot of their adventures together.
- “Time For Flight” by Baby Alpaca – I listened to this a lot as I was writing and developing the Tomlin plot: this man who was going to listen to, and mentor, Jack and Kyra as they explored their burgeoning powers, before suddenly realizing, “shit, the story needs him to get killed off, doesn’t it?”
- “The Beginning of the End” by Klergy (featuring Valerie Broussard) – There’s a line in the song that’s especially telling: “reckless behavior / is looking at a man like he was a savior,” which is pretty on-the-nose. The bombast and drums right around the 1:30 mark make me imagine the Ennead Kids performing at the Helion Prime spaceport with Eve Logan as their captive audience, while Jack and Kyra slip past her. The frenetic strings building up around the 2:40 mark make me visualize Jack and Kyra racing through the darkness to Othman Tower before the Battle of Othman Plaza. And the closing beat right before the final “the end?” The New Marrakesh Spaceport Explosion. I see it so clearly every time, with the final note revealing the devastation that followed. It’s so vivid for me. (And yes, I know it’s also a song associated with Riverdale, but I actually only heard it when part of it was used in an episode of Lucifer.)
- “Trenched” by Tipper – In my head, I call this song “The Sebby Dance.” There may also be some portions of it that make me think of the Apeiros.
- “Guyane: V. Lullaby” by Aram Khachaturian (performed by the Royal Scottish National Orchestra conducted by Neeme Järvi) – This is the theme of New Marrakesh itself, for me. Neeme Järvi’s version is by far the most beautiful I have ever heard.
- “Radiance” by Peter Boyer (performed by the London Symphony Orchestra) – This is, to me, “The Love Theme of Ewan and Tizzy.” I always visualize, as the piece’s final strains spread out, the moment when the two of them are sitting on Elsewhere’s beach together, eyes locked and hands resting on each other’s cheeks.
- “Somewhere in Paradise” by Karen Lawrence – This is Ewan and Tizzy’s “Goodbye” theme. The lyrics are so on the nose.
- “Waves” by Dean Lewis – If there’s a song that better nails the adolescent struggle of veering between one’s childhood self and one’s new adult mindset, I can’t think of it at the moment. Both Jack and Kyra have multiple moments when they wish they could reach back to their more innocent selves and chart a different course, along with moments in which they wish their more adult versions of themselves would stop flitting off and stick around already. I tended to listen to it more when I was writing about the moments leading up to their separation, something neither of them wanted and both dreaded, but that they couldn’t figure out a way to prevent.
- “Echorus” by Philip Glass (performed by Jennifer Koh, Jaime Laredo, Vinay Parameswaran, and the Curtis 20/21 Ensemble) – In my head this is called “Marianne Goes Home,” and reflects Jack’s mental state as she attempts to hold herself together after the New Casablanca Spaceport Explosion.
- “Piano Concert in D-Flat Major: II. Andante con anima” by Aram Khachaturian (performed by the Royal Scottish National Orchestra conducted by Neeme Järvi) – This is the “Theme of the Apeiros.” Try not to find it a little spooky. I dare you.
- “Ordinary World” by Duran Duran – Audrey returns home and tries to take up a life as a normal girl again. Harder than it looks, of course. There were some specific lines in the song that connected really well early on, but became even more fitting as the story grew in scope: “Here beside the news / Of holy war and holy need / Ours is just a little sorrowed talk,” which felt like it related to her putting aside her past with Riddick to focus on the more deadly threat of the Necromongers. There’s also a bit at the end where a background singer sings: “Any world / Is my world / Every World / Is my world,” which is oddly on the nose for a character who can move between universes, so the song became even apt as the scope of the story grew.
Thank you again, everyone, for reading and accompanying me on this adventure. I hope you like the next leg of the journey, too!
—Ardath Rekha, January 26, 2025