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Continuity: Misc


Dr Who

Up to date as of January 31, 2010

From TARDIS Index File, the free Doctor Who reference.

Transferring the TARDIS base code numerals, Master.
This is a disambiguation page. It points to other pages that have similar names.
If you followed a link here, you might want to go back and fix that link to point to the appropriate specific page.

Continuity can refer to several things:

  • A continuity supervisor, someone tasked with ensuring that the internal narrative of an episode makes visual and narrative sense
  • The overall narrative coherency of an entire programme's recorded history, also known as canon
  • Continuity announcements, broadcaster messages, other than advertisements, which play in between different programmes broadcast consecutively on a particular television channel

This article uses material from the "Continuity" article on the Dr Who wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.


Up to date as of February 09, 2010

From Grand Theft Wiki

According to Wikipedia, continuity is "consistency of the characteristics of persons, plot, objects, places and events seen by the reader or viewer" of fictional works.

The term may be applied in the Grand Theft Auto series to compare the consistency in a number of fictional topics in each game. It is difficult to ascertain whether continuity errors in many of the games are intentional or not, as settings and characters have been frequently redesigned, while plot lines in certain games are known not to relate to each other. It can be assumed Rockstar North, the series' primary developer, has little regards to continuity when the need arises.

A degree of effort was made to maintain continuity between GTA III and GTA Vice City Stories, with many characters recurring between titles, the settings maintaining their designs, and GTA III's plot expanded. Minor continuity errors, however, were still persistent in this part of the series. Similarly, continuity in GTA IV (including its episode packs) and GTA Chinatown Wars remain, although they no longer appear to be linked to previous games.



One of the most glaring lack of continuity is the design of cities in the series. The three cities of Grand Theft Auto 1, Liberty City, San Andreas and Vice City, would go on to be featured in future games, but were significantly redesigned, with San Andreas redone as a state with three cities. Liberty City, in particular, has the highest total of three iterations, barring another two adapted for handheld console versions, as of 2009. Other locales, such as London and Anywhere City, were not featured again after their first appearances.

For games between GTA III and GTA Vice City Stories, their settings maintained a degree of consistency in layout and appearance when featured again in another game, although all of them would be set years before GTA III and thus would also receive changes in certain locations of the settings. GTA San Andreas would even feature a segment of Liberty City as featured in GTA III, confirming the city's existence with San Andreas. All in all, the games' iteration of Liberty City has been featured three times (four if GTA San Andreas is counted), followed by Vice City with two appearances, and San Andreas with only one appearance.


For much of the series, many characters in the series were largely disposable, appearing only once in a game. This was most apparent in GTA1, GTA London and GTA2, where the many bosses the player works will never appear again in succeeding games (as they would be dead). However, certain elements of past characters have been reused, as is the case with El Burro and Claude Speed.

The only line of games to extensively reuse characters are games between GTA III and GTA Vice City Stories, where characters introduced in a game would reappear in an older or younger form in games released after. Despite the attempted continuity in the games, several minor continuity errors may be noted, such as their appearance, mannerism and personality.

GTA IV started anew by dropping all characters featured in previous games, justifying all of them would be dead regardless, while establishing a new cast of characters intended to appear in the same timeline in the base game, The Lost and Damned, The Ballad of Gay Tony and GTA Chinatown Wars. Exceptions to the case are recurring personalities of past radio stations. Lazlow, who has extensively appeared on radio in various games between GTA III and GTA Vice City Stories, is present in Integrity 2.0, the game alluding to Chatterbox FM, which Lazlow hosted in GTA III and GTA Liberty City Stories. Likewise, Fernando Martinez cameos in The Ballad of Gay Tony in the form of a radio DJ for Vice City FM.


In early games, plot lines were not made to interconnect each other. As characters and settings differ between the games, it is assumed the games each feature their own distinct storyline and thus were not related. Between GTA III and GTA Vice City Stories, however, the original plot of GTA III was expanded towards the past, providing backgrounds on various events and characters. GTA IV and games later, however, do not reference events in previous games, setting themselves apart from their predecessors.

See also


This article uses material from the "Continuity" article on the GTA wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.


Up to date as of February 07, 2010
(Redirected to Bloopers and continuity errors article)

From Lostpedia

Bloopers are production errors by cast or crew that are heard or visible onscreen. Continuity errors are bloopers that don't match storyline or timeline from other parts of the same episode or other episodes. Confirmed bloopers and errors so far are listed below, by episode.

Given the enormous detail and complexity of the mysteries of Lost (and the fact that fans are actually encouraged to do such microanalysis through the placement of real Easter eggs), the show is perhaps the most closely-scrutinized in history, and therefore subject to greater criticism for minor errors not caught in the editing room. Many production errors have in the past been mistaken for clues the writers intended to leave. Some still remain persistent rumors which spawn misdirected theories about time travel and odd conspiracies.

Officially confirmed errors are noted in blue; debunked errors, which were thought to be accidents but turned out to be deliberate anomalies or otherwise explainable, are noted in red.


Season 1

The shadow that swept by the turbine explosion was confirmed as a CGI error.
Sawyer's hair and Sayid's facial hair grows considerably between two scenes from "Pilot, Part 2", set merely hours apart.
In "White Rabbit", Jin and the other background extras are waiting at the counter next to Jack; in "House of the Rising Sun", they're all standing in line behind him.
When Boone and Locke originally find the Hatch in "All the Best Cowboys Have Daddy Issues", the surrounding area doesn't match with the location used for later episodes.
Grid fence can be seen briefly in the background.
In "Born to Run", Kate is seen running through hospital doors that say "Magnetic Resonance Imagining" instead of "Magnetic Resonance Imaging".
Episode Blooper Type
"Pilot, Part 1" The black object that appears to swoop down in front of the turbine engine just prior to it exploding was believed by many fans to be the cause of the explosion, and related to the Monster. This was later refuted by the producers as being an artifact of poor CGI effects, which should have been shown radiating out after the explosion was rendered, instead of approaching the turbine before. The producers also said that The Monster never appears in the Pilot episode.[1] Visual effects
"Pilot, Part 2" During the plane flashbacks, the audio of the voice of Cindy through the speakers say different words. In Jack's flashback, Cindy says, "Ladies and gentlemen, the Pilot has switched on the fasten seatbelt signs." In Charlie's flashback, Cindy says, "Ladies and gentlemen, the Captain has turned on the fasten seatbelt signs." In Kate's flashback, Cindy says, "Ladies and gentlemen, the Captain has switched on the fasten seatbelt signs." Dialogue
"Pilot, Part 2" Between Jack's and Charlie's flashbacks, the order of Rose's "Guess he really had to go" line and Cindy's "Excuse me" doesn't match up. Dialogue
"Pilot, Part 2" Jack lied to Boone about having found the plane's cockpit. However, after Sawyer shot the bear, Boone said "Do you think that's what killed the pilot?", contradicting that he didn't know what happened. In one of the Season 1 deleted scenes, Sayid tells Kate, "The others, they’ve heard about the thing you saw. The pilot. I can understand why you wouldn’t talk; you didn’t want to frighten us. But your English friend has been telling anyone who will listen." This indicates that Charlie may have blabbed about the incident to other survivors. Dialogue
"Pilot, Part 2" Both Sawyer's hair and Sayid's facial hair is notably longer in the final scene of the episode than it had been in previous scenes. Hair and makeup
"Tabula Rasa" After Sayid returns from the trip to try and get a signal with the transceiver, he gathers a group of people and begins organizing them into teams. He says that he needs three teams— one to gather electronics, one to set up tarps in case it rains, and one to begin rationing food. After the scene cuts away, Sayid can be heard in the background saying "... and I will need a third group to begin construction of..." He already made three groups, and he made no mention of this task in his initial list of what needed to be done. Dialogue
"Tabula Rasa" Just before Kate and Jack depart for a walk on the beach, the camera briefly cuts back to Sayid. Neither his lip movements nor his actions match his lines of dialogue that can be heard ("These are bad on acne. Stay out of the sun..."), which indicates that those have been dubbed over in post-production. Dialogue
"Walkabout" When Randy Nations enters the lunchroom, he puts a coin in the vending machine and immediately reaches for the candy bar, without entering the choice on the keypad. Props
"White Rabbit" Charlie and Hurley are complaining to Jack about the water supply. As the three talk, there is a couple walking past behind Jack. They go by, the camera cuts to Charlie and Hurley, then back to Jack; the same couple passes by again. Actor placement
"White Rabbit" At the beginning of this episode, Charlie warns Jack that someone is drowning, claiming he would help, but he "do[es]n't swim." This directly contradicts his swimming aptitude in Greatest Hits. Plot
"House of the Rising Sun" Jin starts a fight with Michael. Jin runs towards Michael, who is wearing the Rolex watch. When Michael has fallen into the water with Jin in top of him, the watch is no longer there; yet when the fight is stopped by Sayid, the watch is visible again. Props
"House of the Rising Sun" Sun's flashback at the Oceanic ticket counter at Sydney Airport doesn't match up correctly with Jack's flashback from the previous episode. The counter (which is actually a stage set) is not in the same spot, and although some background extras are reused, they (as well as Jin) are suddenly in line behind Jack instead of standing at the counter next to him. Setting, actor placement
"Confidence Man" Sawyer tells Jessica that he has $140,000 in the briefcase and he needs someone to go in with him and provide the other $160,000. Later on in the same episode after Sawyer had left the money with Jessica and her husband David to count, he is talking with Kilo who asks him why he left $160,000 of his money in the care of a civillian. Dialogue
("Confidence Man") Kate visits Sawyer in the jungle after his torture. In this sequence, Sawyer's hair alternates several times between hanging in front of his face and pulled off to the side, even though his hands are tied behind his back. Hair and makeup
"Solitary" Sayid tells Rousseau that Nadia is dead because of him. Yet in "The Greater Good" it is revealed that Sayid knew very well that Nadia was still alive, and living in Los Angeles—in fact, the very reason he was on the flight to begin with was because he was going to meet her. Plot
"All the Best Cowboys Have Daddy Issues" The original discovery place of the Hatch in this episode seems to be a low valley with rocks and dirt at the bottom. However, in every episode after this, the Hatch is shown in a flat jungle clearing. Setting
"Whatever the Case May Be" Kate and Sawyer pull the Marshal's briefcase out from under a dead passenger's seat at the bottom of the lake. Later on, Kate explains to Jack that the case was not in the Marshal's possession because the airline made him check it. If it was checked, how did it get from the cargo area to under a passenger's seat? Plot
"Hearts and Minds" When Locke gives Sayid his compass to use Sayid lays it down next to the magnet he was using to create his own compass. Someone with Sayid's background would know that he would not be able to orient the map with the compass sitting next to a magnet. Props, Acting
"Special" In a flashback, Michael is using a pay phone to talk to Susan, who is overseas. From dialog, we learn that Walt (who is 10 in the Island sequences of 2004) is 21 months old; so by subtraction we can infer that this is taking place in 1996. Over Michael's shoulder, we see a New York City subway station that is served by the N, R and W trains. But the W train did not start running in New York until July 2001. (Wikipedia link:W (New York City Subway service)) Setting
"Outlaws" After the boar runs Sawyer down and he falls into the mud, a bit of the metal fence is seen in the corner. On the DVD extra "Lost: On Location (Season 1)", it is shown that this fence was part of an effort to corral the reluctant boar to run in Josh Holloway's direction, since the animals are not as aggressive in real life as shown on the show. Setting
"Outlaws" When Charlie and Hurley are digging Ethan's grave, the body of Ethan is seen slowly breathing. Acting
"Outlaws" Also, before Charlie and Hurley start to dig Ethan's grave, it is clearly daytime. When the shot changes to show Charlie and Hurley digging with Ethan in the foreground, the sky looks like sunset. After that shot, it goes back to daytime, and in the scene that follows, the sky looks nothing like a sunset. Setting
"Outlaws" When Sawyer and Kate play "I never", his little bottle seems to be refilled. However, since Sawyer stole the alcohol from the fuselage, it is possible that he had more than one bottle and switched them between shots. Props
"Outlaws" The terrain around Duckett's shrimp stand, outside of Sydney, is depicted as a flat plain. In reality it is (by Australian standards) quite mountainous. Setting
"...In Translation" When Locke and Shannon are talking in the jungle, the blood on Locke's face changes between shots. Hair and makeup
"Numbers" When an exterior shot of Martha Toomey's outback house is shown no cars can be seen anywhere, but when Hurley is in the house, a car can be seen outside. Props
"Deus Ex Machina" Jack's backpack changes between shots when he speaks to Sawyer. See position one and two. Props
"Deus Ex Machina" When searching for the Beechcraft, Locke can be seen using the compass he gave to Sayid in ("Hearts and Minds") Props
"Do No Harm" While playing "Heart and Soul" on the piano with Sarah, the keys we see Jack play on the keyboard don't correspond to the chords heard in the song. Audio, acting
"Born to Run" There is a typo on a door in the hospital ("Imagining" instead of "Imaging"). This could, of course, be an intentional Easter egg, as part of the dreams and visions theme. Props
"Born to Run" Before visiting Tom Brennan and subsequently contributing to his death, Kate reads a letter sent to "Joan Hart", while holding a new (colored) $20 bill. These new bills entered circulation on October 9, 2003. However, in "Exodus, Part 1" Edward Mars mentions before boarding flight 815 (on September 22, 2004) that Tom's death was "a couple of years ago". Props
"Exodus, Part 1" As Rousseau approaches the beach camp, Kate is supposed to be asleep, but she has her eyes open for a few seconds. Acting
"Exodus, Part 1" When Walt notices the black smoke on the horizon, there is a wide shot of the survivors staring at the smoke. In that shot, the raft is several feet behind the group. Then the camera cuts to Jack and slowly pans around him to show the other survivors. When the raft comes into view, it's suddenly right next to the survivors. Also, several of the survivors are standing in different positions with relation to each other as compared to the previous shot. (screencaps) Setting, actor placement
"Exodus, Part 1" When Sun approaches Jin on the beach to give him a book to help him learn English, they embrace and make up. In one shot Sun has her hand on the back of Jin's head/neck, then the camera cuts to Jin's face and her hand and arm are nowhere near his head. The camera quickly cuts back to Sun's face and her hand is once again on Jin's head/neck. Actor placement
"Exodus, Part 1" A cameraman in the water is visible in the scene as the raft leaves and Vincent tries to follow. Crew placement
"Exodus, Part 1" On the day of Flight 815's takeoff, which was September 22nd, 2004, Walt is watching Power Rangers S.P.D. on TV. That particular show did not first air until February 2005, and didn't run in Australia until around November 2005. Media reference
"Exodus, Part 1" In the scene of the raft leaving, after Sawyer puts the sail up, a black object in front of the raft is visible, presumably a mechanical connection to tow the raft. Crew placement
"Exodus, Part 2" In the Michael and Walt flashback, Walt asks for new batteries for his Gameboy Advance SP. SPs do not use replaceable batteries; they use a special plug to recharge them. Props
"Exodus, Part 2" In addition, the sound effects used for the video game Walt was playing was for the Atari 2600 Pac-Man game. This appears to be a very common stock sound effect for video games used on all kinds of television shows, not just Lost, as discussed here. Sound effects
"Exodus, Part 2" A boat is visible in the background as Sawyer jumps off the raft to check the rudder. Setting
"Exodus, Part 2" While the set building department did an overall good job of recreating the interior of Oceanic Flight 815, down to the patterns on the seat covers, a small number of details don't match up completely with the plane interior seen in "Pilot, Part 1" and "Pilot, Part 2". Namely, the additional covers on the seats' headrests and the magazine pockets on the partition walls are missing. (Comparison images: [2], [3], [4]) Setting

Season 2

The Hatch shaft magically doubles in size between seasons.
The shelf and all its contents are flipped backwards in several scenes due to an editing error.
The infamous shark with the Dharma logo
A boat barely visible at top left on the horizon in "Adrift".
A white car barely visible in the background in "The Other 48 Days".
The vegetation in the area where Goodwin's dead body rests differs between "...And Found" and "The Other 48 Days".
The horse trainer's hand is visible to the right side in "What Kate Did".
Two different Beechcrafts used in "The 23rd Psalm", as evident from the different callsigns.
Subtitling error in "The Whole Truth".
The Swan's "front door" is arguably two continuity errors, not just one: firstly, that they would spend so much time on opening the Hatch, when a clear, visible, accessible entrance was nearby; secondly, that it is originally shown as a wooden door, but as a metal door in later episodes.
Michael's list in "Three Minutes" changes color and handwriting.
The letter that Penelope wrote Desmond changes between scenes of "Live Together, Die Alone" (different line breaks and wording).
Chinaman's Hat seen in the distance.
A close encounter with the Others in "Live Together, Die Alone".
Someone has started burying the Hatch again. Also, the door has grown in size.
Desmond's original photograph.
Desmond's photograph, version 2.
Bloopers can also be the fault of the network.
Episode Blooper Type
"Man of Science, Man of Faith" When Jack and Locke look down into the Hatch, it is at least twice as large as it was at the end of "Exodus, Part 2". Setting
"Man of Science, Man of Faith" Two different versions of the Hatch door are shown, where the metal finish and stenciling of the word "QUARANTINE" varies. (Image at Props
"Man of Science, Man of Faith" The control panel is reversed (right-left) in two of the shots. This is one of the more common mistakes in filmmaking (when the scenes get reversed during editing). Props, editing
"Adrift" Earlier, in "Man of Science, Man of Faith", when Jack goes to press a button on the computer, Locke says, "I wouldn't do that." In "Adrift", when we see the same scene from Kate's point of view, Locke says, "I wouldn't do that, Jack." Dialogue
"Adrift" The record player inside varies between steel and wood finish, depending on the episode. (Images at Lost-TV "Who swapped out..." thread) Props
"Adrift" The desk lamps also change models slightly through Season 2. (Images at Lost-TV "Who swapped out..." thread) Props
"Adrift" The shark which is seen to have a DHARMA logo printed on its tail was originally intended to be a near-invisible hidden Easter egg for attentive fans. However, an editing error made the shark's logo much more visible than it was supposed to be. As a result, the writers were forced to hint at an explanation for this in "A Tale of Two Cities", with the Hydra's shark tanks. Editing, lighting
"Adrift" When Michael and Sawyer are on one of the parts of the raft, a yacht can be seen in the background. This is before Desmond leaves the Island on his yacht. Setting
"Adrift" The Solicitors' room where Michael goes is the same in which Claire was going to sign an adoption contract for Aaron. However, one room is set in Australia, the other in New York. Setting
"Adrift" The SIG-Sauer P228 given to Sawyer by Jack in "Exodus, Part 1" changes to a Beretta M9 when Sawyer attempts to shoot the shark. Props
"Adrift" Sawyer recounts, "French chick said the Others were coming for a kid," to Michael, even though they were already in the ocean when Danielle Rousseau said that in "Exodus, Part 2". Plot
"Adrift" When Locke enters the Numbers into the Swan computer, he does not press the spacebar (the computer seems to add it automatically)— yet when Desmond does it earlier, he presses the spacebar key after every number. This might not be an error if either way of entering the numbers works, but it is puzzling that Desmond would put in the extra work; perhaps he uses the spacebar as a buffer to help avoid accidentally entering a wrong number without noticing. (This would logically follow from the universal importance that Desmond places on the act of entering the Numbers.) Props
"...And Found" The dates on Jin's resume have the wrong years. (Image at Props
"Abandoned" In "Man of Science, Man of Faith", the EMT's discussion with Jack indicates that Sarah was driving a regular car that ran head-on into a SUV ("Her tire blew, car jumped the divider, went head-on with an SUV."); however, when this same car accident is described in this episode, the ER doctor informs Sabrina Carlyle that "Your husband was in a head-on collision with an SUV," indicating that Adam Rutherford was the driver of the car that ran into the SUV, not Sarah. [5] It is possible that they both drove SUVs, but then Adam Rutherford and Sarah probably wouldn't have been so badly hurt. Another possibility is that the EMT was simply mistaken, confusing the two victims' cars. Plot
"Abandoned" In "Orientation", Desmond tells Jack he was stranded on the Island three years ago. Obviously, that happened after Jack's encounter with Desmond in the stadium in "Man of Science, Man of Faith", which occurred not too long after the accident that resulted in the death of Adam Rutherford. However, according to this episode, Shannon was 18 years old when her father died. In "Raised by Another", she tells Hurley that she's 20 years old, which would place the death of her father two years before the crash of Oceanic Flight 815. However, this discrepancy can be easily reconciled if Shannon lied about her age, or was just short of her 21st birthday. Plot
"The Other 48 Days" During a conversation between Goodwin and Ana-Lucia, a white car is visible in the background. This error was digitally fixed for the DVD version, confirming that it was a mistake. Setting
"The Other 48 Days" After Ana Lucia impaled Goodwin and leaves him for dead, the immediate surrounding consists almost entirely of grass. However, when Jin found his body in "...And Found", Goodwin was surrounded by different vegetation, such as ferns and other leaf plants. Setting
"The Other 48 Days" When Boone used the radio in the small plane, he heard a voice on the other end. This should have been Bernard's voice. The script is different from Boone's transmission to Bernard's. Although they are very similar, there are a few words different between them. Audio, dialogue
"Collision" In "The Greater Good", Sayid takes a Glock 26 from Locke (the pistol from the drug smugglers' plane). When Ana Lucia shoots Shannon, Sayid pulls out a SIG P228. Props
"Collision" As Locke is working on a crossword puzzle while sitting at the button, he goes to fill in a missing word (the only blank left from what we see of the puzzle). His handwriting changes from all other blanks that have been filled in already. Moreover, as noted in Finding Lost: The Unofficial Guide, the answer he fills in makes nonsense of all the other completed entries. Props
"What Kate Did" When the black horse appears to Kate and Sawyer, a gloved hand can be seen on the right of the screen; it's probably the horse trainer. The hand was removed from the Season 2 DVD version of the episode, confirming that it was a mistake. Crew placement
"What Kate Did" During Kate's flashbacks, some fruit can clearly be seen marked as being from 2005. Carlton Cuse and Damon Lindelof acknowledge this is a continuity error. The flashbacks were occurring in either 2000 or 2001. (Official Lost Podcast/January 23, 2006) Props
"What Kate Did" When Eko tells Locke the story about Josiah, he says, "the Book of Law. You may know it as the Old Testament." The "Book of Law" actually refers only to the Torah (the first five books of the Old Testament), and especially to Deuteronomy. The story is found in the second book of Kings. Dialogue
"The 23rd Psalm" Before the Beechcraft takes off in Nigeria, the callsign 5Z-GWN6 can be seen written in large black letters on the side. However, when Eko investigates the plane's wreckage on the Island, it has been replaced by the callsign N3785A, written in much smaller white letters across the dark stripe. The 5Z- designation is used for Kenyan military aircraft (as compared to 5Y- for civilian) [6] [7] [8], whereas N3785A is the real callsign of the plane, which was a Beechcraft formerly registered in Maui, Hawaii.[9] Props
"The 23rd Psalm" While Eko talks to the woman who was selling Virgin Mary statues, there is a big earring in his right ear. When he enters the church to talk with his brother, there is no earring in his right ear. Props
"The Hunting Party" The X-rays are incorrectly dated November 16, 2005. (Image at Props
"The Hunting Party" When Tom holds Kate hostage, you can hear him cock his pistol (off-screen) with one hand. The pistol, as we see in the next shot, is a Luger P08, which has to be cocked with two hands. Props
"Fire + Water" In Charlie's dream, as he's swimming out to try and save Aaron, you can hear him breathing and even speaking when he puts his head underwater. This error was made due to looping the sound. Audio
"The Long Con" Jack clearly calls out "Jack!" instead of "John" when calling Locke to get the combination to gun vault from him. This was fixed on the Season 2 DVD, confirming that it was a mistake. Dialogue
"The Long Con" Cassidy's shirt buttons are changed during the conversion between Sawyer when he drops the money. Props
"The Long Con" This episode is set in Iowa (as evidenced by the decorative Iowa plate in diner, the presence of Kate's mother, talk of Sioux City, etc.), yet the large trees outside Cassidy's window are clearly Norfolk Island Pines (Araucaria heterophylla). These trees only grow in tropical or subtropical environments, and would never survive the Iowa winter. Setting
"The Long Con" When Sawyer enters the Numbers into the computer, the timer can briefly be seen missing the CGI-numbers on it. Editing
"One of Them" The armory is made bigger to accommodate holding Ben. It changes from a tight room to a wider room. Space is made for the bed that was not there in the beginning of the season. Setting
"Maternity Leave" A camera/mic can be seen in the top-right of the screen as Rousseau, Kate, and Claire walk through the jungle at around 22:17. Crew placement
"Maternity Leave" As the trio discovers the Staff, it is dusk, and raining heavily. As they open the door and the camera is looking upwards at the characters, it is much brighter outside, and although you can clearly hear the rain, there is no rainfall anywhere on screen, and the characters are not getting any more wet than they already are, even though they are still standing outside. Setting
"The Whole Truth" There's a grammatical error in the subtitled English ("you're" instead of "your"). This has been fixed in repeats of the episode. Subtitles
"The Whole Truth" In the subtitled English during a flashback, Sun and Jin's surname is subtitled as "Kwan" instead of "Kwon". Subtitles
"Dave" Hurley takes a photo with "Dave" when it is clearly daytime outside the window. In the later Polaroid that Dr. Brooks shows him (of Dave not being present, but which otherwise should be the same scene), it is dark outside the window. Also, some of the Connect Four chips and the plate of celery stick on the table have been moved. (Image at; confirmed as an unintentional error here in Jorge Garcia's Fuselage post) Setting, props
"?" In the previous episode, Locke, Jack, Sawyer, and Kate leave the beach for the Swan while it is still daylight. However, near the beginning of this episode, they are still walking to the Swan, and it is pitch black night. The Swan is only meant to be half a mile away. Setting
"?" When Michael comes stumbling out of the the Swan station's main door, it has suddenly changed to a double metal door with a tampographed Dharma logo like on the Staff entrance. In "Everybody Hates Hugo", "What Kate Did" and "Fire + Water", the entrance has always been comprised of vertical wooden planks like the Arrow entrance. Setting
"?" When Kate and Sawyer return to the beach to retrieve the heroin from Sawyer's stash, it is broad daylight again, even though it doesn't appear that Jack has been trying to save Libby's life for several hours. Furthermore, when Hurley approaches them and asks them whether they have seen Libby, he hardly gives the impression that a full day has passed since she went to the Swan looking for blankets. Setting
"?" Ian McVay reads from notes that are supposedly about Charlotte's post-mortem, but in actuality are the progress notes about a living female patient at Queens Hospital (in Honolulu). (Image at Dialogue
"?" Ian McVay is clearly called Ian by Valerie McTavish, and the captions confirm that his name is Ian. However, during the end credits, he is listed as Dr. Ivan McVay. Credits
"?" In Eko's flashback at Sydney Airport, an arrival/departure display can be seen right next to the moving stairs in the background, which has never been there in any of the previous flashbacks from Sydney Airport. Setting
"Three Minutes" The list that Michael burns near the beginning of the episode is pink, but in a flashback later on in the episode ,it looks more yellow. This may, however, be due to the different lighting in each scene. Also, the handwriting on the list is different between those two scenes, despite the names on it being the same. Props
"Three Minutes" The firearm that Michael has at the beginning of the episode changes. Locke hands him a shotgun (note that it does not have sights). He knocks Locke out with the butt, then it becomes a rifle (note at this point it has sights). Props
"Three Minutes" After Tom shouted, "Bring her out, Alex!", we first see Alex and Pickett arguing before Pickett eventually brings Kate out. However, in "The Hunting Party", Kate is pushed out of the bushes immediately after Tom's command. Dialogue
"Live Together, Die Alone" Just after the intro recap, when the Losties are running towards the boat, you can hear Sayid say "Perhaps it's Desmond." Sayid never met Desmond before and has no real reason to suspect it might be him at this time. Dialogue
"Live Together, Die Alone" The Ana-Lucia/Libby funeral supposedly takes place at sunset at the end of "Three Minutes", but moments later, in the opening scene of "Live Together, Die Alone", Jack, Sayid and Sawyer swim out to Desmond's boat under a bright midday sun. After the "LOST" title screen, it is suddenly night, even though it seems that not much time has passed since the previous scene. Setting
"Live Together, Die Alone" Just after the opening "LOST" title, when Kate is asking Jack what to tell people about the boat, the voices in the background are reversed. The first voice asks, "How many people?", and the second asks, "How many people can fit on the boat?" The same audio can be heard just before the voices are reversed. Audio
"Live Together, Die Alone" When Jack climbs aboard the Elizabeth, he is seen switching the safety lever on his Beretta downwards. That would turn the safety on, not off. Props
"Live Together, Die Alone" The introduction of Our Mutual Friend and the fail-safe key in this episode appears to contradict earlier episodes. In "Orientation", Desmond makes no mention of the key, even though he fears that the Swan computer cannot be repaired. In that same episode, Desmond flees what he thinks is imminent destruction without taking his precious book with him. Plot, props
"Live Together, Die Alone" On the lava coastline, as Desmond is wrestling with Kelvin, a crew member crouched behind some rocks is revealed by his or her hat peeking out. (Image at Crew placement
"Live Together, Die Alone" In a flashback, Desmond is shown witnessing a dramatic System Failure. Yet, in the earlier episode "Orientation", he makes no mention of this, even when Jack proposes that the Swan station is simply a psychological experiment. He also fails to mention this to Locke until it is too late. Plot
"Live Together, Die Alone" Two different versions of the prop used for Penelope's letter are used. Props
"Live Together, Die Alone" In Desmond's flashback with Kelvin, Kelvin turns on the record player from the start quickly, so that the needle falls on track one of whatever album was playing. However, the song is "Chains and Things", which is actually track 7 on the B.B. King album
Indianola Missisippi Seeds.
Props, audio
"Live Together, Die Alone" When Eko inspects the power box, we initially see that it is wide open. However, when he moves closer, it is nearly closed. Props
"Live Together, Die Alone" When Eko runs out of the Swan when Locke and Desmond are faking a lockdown, you see Eko put his club in his belt right in the front of his pants. As he passes out of the door in the next scene, the club is gone, and when he runs back to the door as it is closing, he is holding it in his hand as he drops it and it is snatched from under the door. Props
"Live Together, Die Alone" When Eko climbs out of the Hatch, it is a lot more buried in the ground again as compared to Season 1 (starting with "Deus Ex Machina"). Also, the Hatch door is a lot larger than it was in Season 1, the same problem as when Jack and Locke were staring down the shaft at the beginning of "Man of Science, Man of Faith", as compared to the end of "Exodus, Part 2". Setting
"Live Together, Die Alone" In "Live Together, Die Alone", the number formats of the log printout have changed from the original, introduced during "?", when Locke and Eko discover the Pearl station. When Desmond looks at the print out during "Live Together, Die Alone", he sees 922044:16, which would translate to 09-22-2004 4:16. The original log contained number sequences like 41602054:05, 41602055:53, and 41602088:17, which don't match the later format. Props
"Live Together, Die Alone" When the five survivors discover the capsule dump on the way to attempt Walt's rescue, Sawyer's gun alternates between cuts; he is holding it on his shoulder in one, and dangling it below his waist in the next. Props
"Live Together, Die Alone" As Locke takes the computer and smashes it, he seems to only take the monitor. The keyboard and the CPU are still sitting on the desk. The code could still have been entered into the computer, only without being able to see what is being typed. Props
"Live Together, Die Alone" On the Pala Ferry, Alex tries to pick up Kate, who has her hands tied behind her back and is gagged. Alex accidentally grabs Kate's breasts, then quickly removes her hands, and can be seen smiling as she readjusts her hands. It is possible that Kate made some sort of noise in surprise at this, since Jack can be seen jerking his head towards Kate at that exact moment and then immediately correcting himself. The sound would not appear in the audio overdub used in the actual episode. (Animated GIF image at YTMND) Acting
"Live Together, Die Alone" In the background of the Others' boat that Michael and Walt are sent out with, there is a glimpse of a small second island (real life Hawaii filming location, "Chinaman's Hat"). It is possible that this could be intentional to depict what we now know to be the second Hydra Island; however, this is not likely, as this island is not supposed to be visible when Sayid, Jin and Sun visit the Pala Ferry. Setting
"Live Together, Die Alone" Two different actresses appear in Desmond's photograph in "Man of Science, Man of Faith"/"Orientation" and in "Live Together, Die Alone". The initial photo was obviously taken prior to the casting of Sonya Walger as Penelope Widmore. This was confirmed to be an error when the production team corrected it in the re-airing of "Orientation". Props
"Live Together, Die Alone" As everything metallic flies towards the magnet in the Swan, Eko's cross remains dangling from his neck before suddenly flying off his neck. Props
"Live Together, Die Alone" During Desmond's flashback to trashing the Swan in anger, he first pulls the ping-pong table away from the bookcase and then begins pulling books down from the bookshelves. When he finishes, he turns around and steps on the top of the ping-pong table, which has now been completely dismantled: the two halves of the surface are sitting separately and directly on the floor (although there is no visible damage to it.) Subsequent shots, including the "real-time" scene immediately before the flashback, show an undamaged and intact ping-pong table. Props

Season 3

In "A Tale of Two Cities", Petula Clark's "Downtown" found its way into a Talking Heads Speaking in Tongues jewel case (acknowledged by the producers as a last minute change of music in the 10/09/06 podcast).
There's a cable running under Sayid's shirt.
There is a new vehicle just within camera range, in the lower right corner.
A crew member reflection in the cabinet mirror, in an unaired promotional still featuring the adult Jin and Sun
Exposé ad at soccer game, eight years before the show-within-a-show's Season 4 finale.
Advertisment for the Royal Scots, featuring a soldier in a US Army uniform and the American spelling of "honor".
A ca. 1999 Toyota Corolla in a flashback set in 1987.
Speedometer of Claire's mom's car as seen in "Par Avion", set to show the speed in miles per hour, rather than kilometers per hour, as would be the norm in Australia.
DHARMA Initiative schematics for the Looking Glass station call it a "hatch", a name that the Oceanic Flight 815 survivors came up with for the Swan.
A man in a red shirt and a studio light can be seen in ("Left Behind")
Episode Blooper Type
"A Tale of Two Cities" Juliet puts a CD in the player that plays Petula Clark's song "Downtown", however, the jewel case shown is that of a Talking Heads CD. The producers acknowledge that they made a last minute change of music. (Official Lost Podcast transcript/October 09, 2006) Props, audio
"A Tale of Two Cities" In the opening scene, the Others watch Oceanic Flight 815 break apart above the Island, with the tail section barely rotating while tumbling down. However, at the beginning of "The Other 48 Days", the tail section comes crashing in from the seaside, rotating a lot faster than in this episode. Visual effects, setting
"A Tale of Two Cities" When Juliet and Ben are watching Flight 815's mid-air break-up, there is a white van shown in the very lower right corner, just within range of the camera. This was not fixed for the DVD release, thereby at least suggesting that this is not actually considered an error. Setting
"A Tale of Two Cities" When Kate first steps onto the beach she has a black band around her right wrist. By the time she sits down to put the cuffs on it is gone. Props
"A Tale of Two Cities" In the breakfast scene with Kate and Ben, at first the Ketchup has no label. After Ben asks Kate to put on the handcuffs, the bottle has a DHARMA logo on it. Later when Ben is putting ketchup on his eggs, the bottle again has no logo. Props
"A Tale of Two Cities" The crossword puzzle that Jack has in his car is dated to 2006. Props
"The Glass Ballerina" Crew visible, reflected from the cabinet mirror, in a promotional still featuring Jin and Sun. Crew placement
"The Glass Ballerina" When Jin goes to visit Jae Lee, he exits the elevator on the second floor (as evident by a number plate saying "2"). When he confronts Jae, however, they suddenly appear to be on the 15th floor (as evident by a door plate saying "1516"). Setting
"The Glass Ballerina" After Jin is finished with Jae Lee and is back in his car, he is visibly hiding his face from debris right before Jae Lee hits. Obviously Jin doesn't actually know Jae Lee is falling, this is probably just the actor protecting himself. Acting, Editing
"Further Instructions" When Locke wakes up after the implosion, and picks up and examines Eko's Jesus stick, Locke is suddenly wearing his backpack and it is gone the next second. Props
"Further Instructions" In the flashback, the birth dates do not match on Locke's gun license and driver's license, one of which has him at 48 (1956), and one which has him at 58 (1946). (Image at If Locke were 58, this would mean that his mother gave birth to him when she was 6, according to the information from her Santa Rosa Mental Health Institute papers (her birthday is 1940 there) from "Deus Ex Machina". (Image at Props
"Further Instructions" Locke is bald in his driver's license, although in the episode he has hair. Hair and makeup
"Further Instructions" Eko doesn't have the same haircut that was shown in "Live Together, Die Alone". His beard is also shorter. Hair and makeup
"Further Instructions" The length of Boone's hair is longer in this episode's dream sequence than it was when he actually died. ("The Greater Good") (This is a dream sequence, anything can happen) Hair and makeup
"The Cost of Living" Jack asks Ben if he is having symptoms of numbness and tingling to his fingers and toes, yet the tumor on his X-ray is assessed to be over the L4 vertebra and is clearly lumbar (would only have paraesthesis in upper extremities if it was a cervical tumor). Dialogue, props
"I Do" Kate asserts that she and Sawyer are a team, saying "You break the rocks, I haul them", when in fact this was vice-versa in "The Glass Ballerina". Dialogue
"I Do" Pickett's gun changes between SIG-Sauer P226 and Beretta M9 (when he approaches the cage, he has a SIG, then, when he drags Sawyer out, he has a Beretta, and then when Tom calls him on the walkie-talkie, Pickett has a SIG again). This same blooper is seen in "Not in Portland". Props
"Not in Portland" At the end of "I Do", Jack said, "Kate, you have about an hour headstart before they come after you". After that follows a long pause, after which Kate asks, "Wait, where are you? Where are you?" Jack's voice can't be heard on the walkie-talkie Kate is holding, yet at the beginning of this episode, Jack also says "Take a walkie, take Sawyer, go." right after the "headstart" line. Dialogue, props
"Not in Portland" When Alex leads Kate and Sawyer to the Hydra building to rescue Karl, as Aldo stands up to guard the door to the facility, he drops the book he was reading before. When he gets tackled to the ground, the book (that was seen before dropped on the ground next to him) is not seen there anymore. Props
"Flashes Before Your Eyes" When Desmond is carrying Claire out of the water, one of the straps on Claire's clothes clearly shifts position. Props
"Flashes Before Your Eyes" The dialogue of Charlie and Desmond both before and after the lucid flashback changes. Dialogue
"Flashes Before Your Eyes" When we are shown scenes from "Live Together, Die Alone", the countdown timer beeps even after it has reached zero, when we know from "One of Them" that it stops once it reaches this. Audio
"Flashes Before Your Eyes" During Desmond's interview with Charles Widmore, his tie shifts between being behind his jacket to being in front of his jacket several times, and some of the shots are mirror reversed. Props, editing
"Flashes Before Your Eyes" A large number of inaccuracies are present in the "London" scenes: the US style taxi beacon; a small dome and other unidentified buildings on the South bank (the dome is the planetarium of the filming location[10]); a totally US-style pub, with "Olde Worlde" style food carts, etc.; and a Royal Scots poster with the word "honor" on it (the real correct spelling is "honour") below a soldier in US Army uniform. Setting, props
"Flashes Before Your Eyes" According to the producers, Desmond traveled back to 1996 in his "lucid flashback" (Official Lost Podcast/February 20, 2007), however, the taxi behind Charlie had a 2001 registration number, and some of the vehicle models (such as red "new" Mini Cooper and "bendy" bus) were not manufactured until June 2002. Setting
"Flashes Before Your Eyes" One of the soccer ads advertizes the TV show Exposé, which shouldn't even exist at this point considering that the flashback is set in 1996, and Nikki was only shooting the season 4 finale of Exposé a few days before the crash of Oceanic Flight 815 on September 22, 2004. Media reference
"Stranger in a Strange Land" When Chet and his gang are beating up Jack, the blood on Jack's face switches in between shots. Hair and makeup
"Tricia Tanaka Is Dead" When Hurley's father drives off on his motorcycle in the flashback set in 1987, a ca. 1999 Toyota Corolla turns around the corner. Setting
"Tricia Tanaka Is Dead" In the scene where Vincent brings Roger's decaying arm in his mouth to Hurley and Charlie, the hand seems to move up further in the dogs mouth in the separate shots, and the hand changes to the other side of Vincent's mouth. Props
"Tricia Tanaka Is Dead" Besides the road map, none of the scraps of paper in the back of the van were meant to be seen, but one, the so-called Ho`oulu Lāhui document, managed to make it on screen. Script coordinator Gregg Nations has confirmed that the document was simply an arbitrary prop with no relevance to the Lost universe. Further, due to the fact that there are real places and real people associated with this paper, it would be an abuse of personal privacy to pursue this any further. Props
"Tricia Tanaka Is Dead" When the van is coming down the ramp, in the back you can see a mountain which has grown diagonally. Setting
"Tricia Tanaka Is Dead" Charlie has a small cut while shaving and in subsequent shots he doesn't and then the cut re-appears again. Hair and makeup
"Enter 77" After Sayid got kicked by Mikhail, his shirts lifts and you can see a white cable running from his pants over his body to his chest. Actor placement
"Par Avion" Claire's mother being in a coma does not seem to fit with the exchange Claire had with Thomas regarding her mom disowning her in "Raised by Another". (Alternatively, Thomas' remark might be a sly reference to the fact of her mother's unconscious, bed-ridden state.) Plot
"Par Avion" Nor does Claire's mother being in a coma fit with the comment made by Claire's friend at Malkin's regarding Claire's pregnancy: "She hasn't told her mom yet, we're afraid she might..." in "Raised by Another". (Alternatively, Claire's friend might be referring to Claire's de facto mom, i.e., her aunt.) Plot
"Par Avion" Although some speculated that Charlie had secretly not attached the note to the captured seagull based on it being visibly tucked in Dom Monaghan's hand, ABC's online summary later confirmed that Charlie was meant to have attached the note based on it saying, "They attach it to the bird and release it," therefore what the audience saw was an error. Props
"Par Avion" Charlie folds the note into a small square twice. Props
"Par Avion" When Kate is hanging from the log ramp over the sonar fence, her gun is suspended on her right shoulder; when she jumps down, it is on her left shoulder. Props
"Par Avion" The dashboard in Claire's car at the accident scene shows a speedometer in miles-per-hour, but the norm in Australia would be kilometers-per-hour. Props
"The Man from Tallahassee" When Kate enters Jack's house, a jacket appears on the door that wasn't there when she first opened it. Props
"The Man from Tallahassee" When Alex returns to Ben's house with Sayid's pack, the clock behind Ben shows something similar to 1:40. Locke grabs the pack and the camera moves back to Alex and Ben again. This time, the clock shows 4:12. Then, while shown for a third time, the clock marks 1:40 again. Props
"The Man from Tallahassee" When Jack is asking for his friends to be released, Ben replies and Jack walks off. The camera cuts to the women, then back to Ben, and Jack is by him again having walked off a few seconds earlier. Actor placement
"Exposé" When Paulo and Nikki are reading the newspaper in the airport prior to their flight, the date in the newspaper is shown as Thursday, September 24, 2004, rather than September 22, the date of the plane crash. In addition, the Thursday of that week was actually the 23rd of September. Script coordinator Gregg Nations confirmed that this was a prop error that had been caught, was supposed to get fixed yet still ended up in the aired version of the episode. Props
"Exposé" In the airport flashback, Nikki and Paulo are having a toast. Paulo is just about to take a sip from his glass as he suddenly hears Shannon's voice. In the very next shot, Paulo is suddenly holding the glass away from his mouth, and more than half of the glass's content is already gone. Props
"Exposé" Shannon's hair is much longer in the episode. Hair and makeup
"Exposé" Neither Boone's hairstyle nor the color of his hair match his appearance in the pilot. Damon Lindelof and Carlton Cuse admitted that Ian Somerhalder is wearing a wig for this episode because they wouldn't ask him to cut his hair for a mere two days of shooting. (Official Lost Podcast transcript/March 26, 2007) Hair and makeup
"Exposé" During Nikki and Paulo's flashback of the crash scene, Locke, rather than the "gas man" extra, yelled "stay away from the gas". Dialogue
"Exposé" Also during the crash scene, Locke and another survivor can be briefly seen carrying the tourniquet man before Gary Troup gets sucked into the engine. In the shots that are recycled from "Pilot, Part 1", the Tourniquet Man is merely unshaven, but in the newly filmed footage that features Nikki, he clearly sports an actual beard (which can be also seen in a promotional photo). Hair and makeup
"Exposé" When Nikki is trying to find Paulo in the plane wreckage, she sees Jack near the water helping Claire. Seconds later, in the wide shot where she looks up at the wing, Jack is also visible near the plane and not with Claire. The shot was recycled from "Pilot, Part 1", with Nikki and an extra wreckage part added via greenscreen. However, the special effects crew forgot to digitally remove Jack from that shot. Editing, special effects, actor placement
"Exposé" When Jack is telling the survivors about the caves, he is also seen standing to the right of Hurley, near Nikki and Paulo. Editing, special effects, actor placement
"Exposé" Jack's speech doesn't match up completely with the version from "White Rabbit". While the omission of the drowned woman could simply be due to length (i.e. what we see is actually not the full speech, but just a montage), this still doesn't explain why a few sentences change order. Dialogue
"Exposé" While Hurley, Charlie and Sun are digging Paulo and Nikki's grave, Vincent runs off with the blanket that's covering their bodies. The camera then changes to Hurley, Sun and Charlie talking about Sawyer, and Charlie's confession to Sun about the kidnapping (see"The Long Con"). After she leaves, the camera switches back to Paulo and Nikki's 'corpses' and the blanket is back on them. Props
"Exposé" When Sawyer and Hurley bury Nikki and Paulo, Nikki's hands are together over her body. When Sawyer throws the diamonds in, her hands are by her side. They then return to the original position in the next shot. Actor placement
"Exposé" In Paulo's passport, the expression "REPÚBLICA FEDERATIVA DO BRASIL" is misspelled as "REPUBLICA FEDERATIVA DO BRAZIL". Props
"Left Behind" When Kate and Cassidy are in the bar having a drink, Cassidy is asking Kate a question and we see Kate playing with an empty glass. We then cut to a view of Kate face on, where she holds up the glass with a dark drink in it, and slugs it back in one go. Props
"One of Us" In the scene where Richard talks to Juliet in the airport, there is a shadow of the boom microphone on Richard's shoulder. Crew placement
"One of Us" When Juliet reads Rachel's cancer report that Ben gave her, the "sex" field reads "male" and not "female". This has been confirmed as a prop error by Gregg Nations Also the weight is almost certainly wrong and the data is heart-related rather than anything to do with cancer. Props
"One of Us" During the scene where Kate is reunited with Sawyer on the beach, Kate is holding a water bottle, but when she hugs Sawyer, it is gone. Then, when Sawyer says "What's she doing here" to Juliet, Kate can be seen holding the bottle once again. Props
"One of Us" When Claire is sick and Juliet offers the medication, we observe that it is night. However when Juliet goes to the tree that holds the medication it is suddenly day. Setting
"One of Us" Juliet refers to a man Sawyer allegedly "shot in cold blood" the day before he boarded Oceanic Flight 815. This seems to be referring to Frank Duckett, but it would contradict both Sawyer meeting Christian Shephard a week prior to the crash (as recounted by Sawyer in "Exodus, Part 1") and Sawyer spending three days in a police cell before being deported to the USA. Dialogue
"One of Us" After the Others witnessed the mid-air break-up of Oceanic Flight 815 and Ben sent Goodwin and Ethan off to their missions, he notices Juliet holding Carrie and concludes "So I guess I'm out of the book club". Following that, Juliet turns and wants to leave, but Ben keeps looking into her direction and calls her name twice until Juliet stops and turns around. However, in "A Tale of Two Cities" we saw Ben turning the other way while Juliet was walking toward a couple standing nearby and stopped, presumably to talk to them. Actor placement
"One of Us" When Juliet gets out of her bunk in the submarine, she is barefoot. She takes her bag and coat from the lower bunk, goes directly to the main room, and climbs the ladder. When she crawls out of the sub's hatch, she is wearing heels. Props
"Catch-22" The location where Hurley says "This is it" right before Jin finds the wire on the beach looks totally different from the location where Sayid originally found the wire back in "Solitary", and also from the location where Hurley found the wire in "Numbers" (as a matter of fact, those two locations were already inconsistent to begin with). This time, there is a crooked tree that was nowhere near the location of the wire in those earlier episodes. To make matters even worse, this is the same tree that was prominently featured throughout season 1 as one of the landmarks of the original beach camp near the crash site of the fuselage of Oceanic Flight 815 (comparison at Lost Virtual Tour). Setting
"Catch-22" Desmond has a flash about capturing the parachutist. It plainly shows that Charlie was there in both instances (which the flash scene would have been impossible if Desmond had let Charlie take the arrow to the neck). However, this may be intentional if Desmond was seeing flashes from multiple potential futures at the same time; it is not clear yet what is and isn't possible in Desmond's flashes. Actor placement
"D.O.C." Sun takes a phone call over the bridge named "Han Gang Dae Kyo" on it. But there's no bridge like this in Korea, and It's not a large enough to call that "Dae Kyo" which means a very large bridge in Korean. Setting
"D.O.C." In Sun's flashback where she meets Jin's father, Mr. Kwon's boat switches from being tied to the left side of the dock in the establishing shot to the right side in all subsequent shots. Also, when Sun approaches the boat, there is an orange marker buoy on the boat; in the shot where Mr. Kwon looks up to her, there is suddenly an additional blue marker buoy that was missing in all the previous shots. Setting
"D.O.C." While Jin chases Mikhail through the brush, Mikhail is shown with a full head of hair. By the time Jin catches him, his hair has fallen back out again. Hair and makeup
"D.O.C." After Mikhail says "Maybe a day and a half," he turns his head away from Charlie to look at Desmond. In the next shot, he is looking at Charlie and turns his head again. Actor placement
"The Man Behind the Curtain" It is shown that Ben was born on December 19, 32 miles outside of Portland, Oregon. The actors are not dressed for this kind of weather and appear to be hiking in the summer months. The average temperature in Oregon for December is 40F, far colder than depicted in this scene. Setting
"Greatest Hits" On the map the 'Looking glass' building is named 'hatch'. The other DHARMA buildings are called stations. The term hatch was used by the survivors for the first station they discovered 'The Swan'. Script coordinator Gregg Nations confirmed this as being an error [11]. Props
"Greatest Hits" Charlie prides himself on being an excellent swimmer; however, several months earlier in White Rabbit, he tells Jack he cannot swim. The possibility exists that he was lying in White Rabbit, however, and simply did not want to potentially sacrifice himself to save Joanna. Plot
"Greatest Hits" The writing of Charlie's letter changes every time when he writes down a new point. Some of the versions look very close, whereas others look drastically different (screencap). Yet another different prop for the letter was shown in a promotional image (screencap). Props
"Greatest Hits" When Hurley walks away from the outrigger you can see a foot from a crew member on the left. Crew placement
"Through the Looking Glass" When the castaways leave their beach camp and start heading towards the radio tower, the walk towards the left along the coast line. In the next scene, they walk through a rocky area at the coast line, now heading towards the right. Setting, actor placement
"Through the Looking Glass" The castaways are said to have only one rifle, regardless of the fact that two sniper rifles (G3/SG1 and SVD) were stored in the Swan and then hidden by Sawyer and haven't appeared since, and following the count given in "Three Minutes", there should be five weapons, two pistols, three rifles. Props, Plot
"Through the Looking Glass" While Ben is talking to Mikhail via radio (~ 33. minute) you can see a pipeline on a hill to the left of Ben's head. Setting
"Through the Looking Glass" After Mikhail is instructed by Ben to kill Bonnie and Greta, his real eye can be seen moving underneath the makeup. Hair and makeup
"Through the Looking Glass" After Mikhail is instructed by Ben to kill Bonnie and Greta, his real eye can be seen moving underneath the makeup. Hair and makeup
"Through the Looking Glass" When Bonnie and Greta are interrogating Charlie, right after he says "lets call Ben" there is blood all over his right cheek. In the next shot the blood is gone despite him being tied up Hair and makeup
"Through the Looking Glass" When Locke is in the pit, close-ups show him with the pistol away from his forehead. However, when zoomed out, he is shown as having the gun to his forehead. Editing
"Through the Looking Glass" During the scene at the stream with Kate and Sawyer talking there is a minor blooper. Kate has something in her hair (a small piece of branch). It cuts to Sawyer and back to her when it's not there and then back to Sawyer and then to Kate again where it appears for the rest of the scene Hair and makeup
"Through the Looking Glass" If you count how many castaways are walking to the radio tower, there are only 27 including Ben, Alex, Karl, Naomi and Rousseau, when there really should be at least 40. Actor placement
"Through the Looking Glass" The equipment inside the Looking Glass is on the left side of the porthole, but after the porthole is broken, the equipment is on the right side. Props
"Through the Looking Glass" Charlie does the sign of the cross improperly with his left hand. This may have resulted from the scene being inversed. Acting, editing
"Through the Looking Glass" Charlie need not have died in that situation. If we presume that the damage caused by the explosion is limited to the window, and the compartment remains otherwise air-tight, the water would fill up the room only to the top of the window. See (screencap) with red line for reference. After the water reaches the top of the window the remaining air can not be displaced, and water inflow stops. Then Charlie can swim out (the window is big enough), or wait while Desmond brings a scuba, from outside. This is basic physics, and you can test it yourself with a bottle held upside down in the bath. However, he would have likely used up the remaining oxygen eventually, and there were numerous story reasons for him to sacrifice himself. Ignoring Physics

Season 4

Prop error found on the wall
A supposedly German traffic sign that is both graphically and semantically wrong
How does a bullet pass through a water bottle but make only one hole? ("Meet Kevin Johnson")
Blake Bashoff's hearing protection is visible after Karl is shot. ("Meet Kevin Johnson")
Tania Raymonde's left-eye contact lens dislocates, revealing her real eye color. ("Meet Kevin Johnson")
Ben appears to be on a hard surface...
...then a softer surface ("The Shape of Things to Come")
Juliet mispells "forcepts" and "Gauze pads" on her list of medical supplies("Something Nice Back Home")
Episode Blooper Type
"The Beginning of the End" When Randy is filming Hurley's car crash, his camera has its cap still on. Props
"Confirmed Dead" After Miles has "talked" to the ghost, the contents and the frames of the photos on the wall are different. Prop, Setting
"Confirmed Dead" Sawyer tells Locke that the Barracks are due south, when it is impossible since the survivors are currently on the southern end of the Island since the cockpit is not too far from the beach camp. Plot
"The Economist" When Sayid shoots Mr. Avellino in the golf course, objects around the area are casting shadows. At the next overhead shot, all the shadows are gone. Setting
"The Economist" The menu in the restaurant where Sayid meets Elsa features numerous spelling errors Props
"The Economist" In a scene that supposedly takes place in Berlin, there is a traffic sign in the foreground. Besides being in a different graphical style than German traffic signs, the sign makes no sense: It warns about pedestrians crossing the street and then limits this warning to certain times. Residents with a special parking permit are completly exempt from watching out for pedestrians. Setting, Props
"Ji Yeon" The korean skyline seen in the establishing shot of Jin's flashback disappears later. Link Visual effects
"Ji Yeon" There's a signboard on a building which says "This is a mark on a wall." or "a Large pharmacology" in korean letter. It does not look real. Setting
"Meet Kevin Johnson" In "Catch-22", Naomi's helicopter crashes in the water, but in the subsequent episodes the freighter crew still has a helicopter, which implies that they had two before Naomi crashed. However, in "Meet Kevin Johnson", in the scene where Naomi is arguing with Frank Lapidus, Only one helicopter is present on the pad. Props, Plot
"Meet Kevin Johnson" The water bottle in Karl's hand in the final scene of "Meet Kevin Johnson" has only one hole. The bullet entered the bottle, but did not exit. Apparently, bullets can be made to be water-soluble.
  • It is simply possible that the bullet didn't pass through the bottle, but simply scratched it, i.e. passing by and touching the bottle only on its side, therefore making the hole without passing through the bottle, making this scene possible. || Props, Visual effects, Ignoring Physics
"Meet Kevin Johnson" Hearing protection is visible on Blake Bashoff during a sequence involving pyrotechnics. Visual effects
"Meet Kevin Johnson" Tania Raymonde's actual brown eye color is visible when the blue contact lens on her left eye dislodges. Hair and Makeup
"The Shape of Things to Come" There is an attached shirt rack concealing the hieroglyph door in this episode, rather than the storage shelving shown in that same position in "The Economist". Props, Setting
"The Shape of Things to Come" When Ben appears in the desert for the first time, he appears laid on his back on hard cracked ground. In the next shot he is shown raising himself up off a completely sandy surface. Setting
"The Shape of Things to Come" Many of the Arabic scripts (including the news broadcast and the signs in Tunisia and Iraq) are erroneous. The letters are not connected as they should be (i.e. as if they did not form words). And even if they were connected, many of them still would not form proper words. Sayid's name, for example, is written as: س ي د ج ا ر ه which would read سيد جاره (Sayyid Jareh) when connected. This is not how Sayid's name is spelled though (سعيد جراح). Script, Props, Setting
"The Shape of Things to Come" In "The Economist" the ceiling of the small corridor between the bookcase and Ben's secret room showed no signs of a gap where the door lowered preventing Sawyer from passing to follow Ben. Props, Setting
"Something Nice Back Home" In Juliet's list of medical supplies, "forceps" is incorrectly spelled "forcepts." "Gauze pads" also appears to be incorrectly spelled as "gause pads." Props
"Something Nice Back Home" "Hard-wired" smoke detectors (as used in a hospital) do not have an on board battery. They are attached to a central electrical supply and linked together. Any malfunctioning of a commercial smoke alarm would be indicated at a central control panel, not by a beeping in the unit itself. Props
"Something Nice Back Home" Jack's lab coat spells his last name as "SHEPARD". However, the door to his office and his name in the lobby of the St. Sebastian Medical Center where he works spells it "SHEPHARD". Props
"Something Nice Back Home" When Jack is first seen stumbling out of his tent in the episode's beginning, there is a thin trail of sweat on his shirt, running down from the neckline. However, when the camera flashes back to him not more than seconds later, the entire top of his shirt is soaked. Hair and Makeup
"Something Nice Back Home" The examination table that Sun shows Jin in the Staff medical hatch is completely different from the one on which both Sun and Claire were examined previously. Props
"Cabin Fever" The single of "Everyday" by Buddy Holly and the Crickets was recorded in May of 1957 and not released until September 1957 (source: [12][13]), over one year after Locke's birthdate of May 30, 1956. It would be impossible for Emily to have been playing this record the night of John's birth. (source: [14]) Audio
"Cabin Fever" The closed captioning incorrectly stated the song playing at the beginning was "Everyday" by Don McLean, instead of Buddy Holly, which would have put the time frame circa 1974. Captioning
"Cabin Fever" When Alpert is placing the items on the table for young Locke to choose ones which belong to him, the compass changes rotation. Props
"Cabin Fever" When Alpert puts the first item down, there's something resembling a white coaster on the table. When he presents the second item, the white coaster is suddenly gone. Props
"Cabin Fever" When Locke's Grandmother goes to light up in the hospital you can see lipstick marks on both ends of cigarette. Props
"Cabin Fever" While talking to Hurley and Ben about the DHARMA Initiative, Locke is seen hacking away at plants with a machete. When Locke takes his backpack off, the blade is in it and not in his hand. Props
"Cabin Fever" Right after Locke departs from Hurley and Ben to go into the cabin, one can see the shadow of Hurley's arm holding the torch appear on Ben's shirt. AS the camera zooms in, Huley moves his arm, perhaps to cover the fact that the light isn't coming from the torch itself. (The torch wouldn't cast a shadow if the fire atop it were creating the light.) Props, Visual effects
"There's No Place Like Home, Part 1" In the shot of the aircraft's ramp being pulled out, Jack, Hurley and Sun's family members can be seen standing at the end of the ramp surrounded by guards. In the next shot, they are suddenly several yards further back, surrounded by no one. Cast, Setting
"There's No Place Like Home, Part 1" As Hurley brings Sayid into his family hug, he has his right arm around his shoulder to begin with, then as it flicks to the next scene, the other arm is around Sayid. Cast
"There's No Place Like Home, Part 1" In the scene where Kate first notices the bloodstain on Jack's shirt, Jack's shirt is free of blood until after it is explicitly shown. Hair And Makeup
"There's No Place Like Home, Parts 2 & 3" When Ben trips and rolls down the hill, it is visible in the first two shots that he is not being portrayed by Michael Emerson but by a stunt double. Cast
"There's No Place Like Home, Parts 2 & 3" The final flash-forward scene from "Through the Looking Glass" is slightly reedited in the "previously on Lost" segment at the beginning of the episode, adding a new shot of Kate's car driving off which then leads into the first scene of this episode. However, "Through the Looking Glass" ended with Jack turning around and walking towards his car, while in this episode, he is still watching Kate's car drive off when Kate stops and changes to reverse gear. Script, Setting, Cast
"There's No Place Like Home, Parts 2 & 3" Richard Alpert is shown lowering the gun after shooting Keamy in the back. After a brief reaction shot from Sayid, Richard is again shown lowering the gun. Script, Cast
"There's No Place Like Home, Parts 2 & 3" When the helicopter first takes off from the Island, the right leg of the stunt pilot can be seen. He is wearing shorts unlike Frank, who is wearing pants throughout the episode. Crew
"There's No Place Like Home, Parts 2 & 3" When the helicopter takes off, there is a clear shot of its underside. There is no fuel leakage from the gunshot hole. Once they are above the water, it starts to leak. Ignoring Physics
"There's No Place Like Home, Parts 2 & 3" No radio transmitter is capable of broadcasting a signal from deep underground. If the explosives were rigged to detonate with the loss of a radio link to Keamy's transmitter, the bomb would have been triggered when Keamy took the elevator down to the Orchid, if not sooner. If the explosives were rigged to detonate upon receiving a detonate command from Keamy's transmitter upon his death, then the Kahana would never have blown up, as no radio signal would have been capable of surviving the attenuation and reflection associated with the rock surroundings of the Orchid station. Ignoring Physics
"There's No Place Like Home, Parts 2 & 3" Frank's helicopter is shown hitting the water surface with a high forward speed, then tilting forward and breaking into pieces. Actually, a helicopter that runs out of fuel (or somehow loses power) can still perform a controlled descent using autorotation, so it is very unlikely that Frank's helicopter would have crashed the way it did. Ignoring Physics
"There's No Place Like Home, Parts 2 & 3" When Ben climbs down the ladder to the icy cavern and falls, the crowbar lands behind him. In the next shot, it is in front of him, slightly under his knee. Props
"There's No Place Like Home, Parts 2 & 3" When Hurley takes Aaron from Kate on the raft, the first shot shows him with a life jacket; in the next shot, he is not wearing a life jacket. Props, Hair And Makeup
"There's No Place Like Home, Parts 2 & 3" When the Oceanic Six arrive on the Island of Sumba, a camera operator is visible at the bottom right of the screen when Sayid rows the raft ashore. Crew Placement
"There's No Place Like Home, Parts 2 & 3" Frank is shown applying tape over the holes in the fuselage of the helicopter to patch the fuel leak. The surface of the fuselage is almost certainly not the surface of the fuel tank. Props
"There's No Place Like Home, Parts 2 & 3" If freezing the battery attached to the C4 stopped the flow of current without causing an explosion and stopped the explosives from detonating when Keamy died, then the battery, wires, detonators, etc., all could have been disconnected while it was frozen. Ignoring Physics
"There's No Place Like Home, Parts 2 & 3" When Daniel returns to the island after dropping off the first group on the freighter, he tells Juliet that the engine had been fixed and the boat was moving closer to shore. However, in There's No Place Like Home, Part 1 we saw him drop the people off at the freighter and turn around immediately to return to the island. He wouldn't have any way of knowing this information. Dialogue
"There's No Place Like Home, Parts 2 & 3" Frank tells the rafting main characters that they would reach the island of Sumba 8 or 9 hours after beginning their trip from the Searcher. A time lapse skips ahead from the time of departure and arrival, however, the time of day doesn't seem to change at all, as the sun is shining just as bright at both times. It would be more believable for the trip to have taken one or two hours, but at 8 or 9 hours' difference in time, the characters arrival would have been closer to dusk. Setting

Season 5

Episode Blooper Type
"The Little Prince" Jin traveled in time with those who were on the island .... According to Daniel, that makes him within the radius. So why didn't the same thing happen to those who were on the Helicopter? They were closer to the island than Jin. Plot
"The Little Prince" When Kate, Sun, Jack, Ben and Sayid are shown speaking at the marina, the line Kate speaks varies in the different flashforwards of each character. Sometimes she she's "you guys are crazy" and others "you are all crazy". Dialogue
"The Life and Death of Jeremy Bentham" When John wakes up in the hospital after having his broken leg fixed, he does not recognize Charles Widmore, who is seated next to his bed, despite the fact the he'd seen a video and read a detail file on Widmore, which were given to him by Ben in "The Other Woman" as shown in the previous season Plot
"La Fleur" & "The Variable" Charlotte is seen as a child on the island in 1974 and 1977. In season 4 Ben Linus recounts much of the information he knows about Charlotte including the fact that she was born on July 2, 1979. Timeline Inconsistencies
"He's Our You" & "Whatever Happened, Happened" At the end of "He's Our You" young Ben Linus is shot from close-range by Sayid with what appears to be a 9mm handgun. The bullet wound shown in this episode is on the left side of Ben's chest, over his heart (a shot that would almost certainly kill someone his size). In the next episode "Whatever Happened, Happened" Jin, having just recovered from Sayid's attack, sees Ben laying on the ground and when he is rolled over we can now clearly see that the bullet wound is on the right side of Ben's chest. Plot
"Dead Is Dead" Ben already living amongst the Others is shown to have taken an infant Alex from her mother in early 1989. It is established that at the time Charles and his followers want nothing to do with Alex as it was Jacob's will for her to be killed. It is implied that Ben alone will bear the responsibility of raising Alex since he defied Charles. Horace Goodspeed claimed The Purge that wiped out the DHARMA Initiative took place in 1992 in the episode "Cabin Fever". Ben is shown to still be living at home with his father the day of the Purge in the episode "The Man Behind the Curtain". Alex was not being raised by the Others as Charles their leader wanted nothing to do with her. She was not shown to be living with the DHARMA Initiative. It is clearly implied that Ben kidnapped Alex after the Purge and he had began living among the Others yet the timeline indicates that Alex would had to have been kidnapped three years before the purge. (Alternatively, Ben could have been making midnight rendezvous's with Ethan to the Others. We only see him with them over the course of a single night. Also, Charles' disinterest in baby Alex is no clear indication of everyone else's disinterest in her. Ben's ploy to undermine Charles' leadership wouldn't have worked unless he knew that a sizable number of the Others would object to Alex being killed. The fact that Ben could countermand Charles publicly and still maintain his position as an Other would indicate that others probably could too (they would have to, at least eventually, in order to provide the force necessary to remove Charles from the Island against his will). With these points in mind, there seems no reason to conclude that Ben kidnapped Alex after the Purge.) Timeline Inconsistencies
"Some Like It Hoth" The Dharma beer Kate drinks has a pop top. In 1977, beer cans had pull tabs. Props
"Follow the Leader" Eloise Hawking is shown to be pregnant with her future son Daniel Faraday in the year 1977. The episode "The Constant" reveals that in 1996 Daniel is already a tenured professor at Oxford. Meaning Daniel would have tenure at Oxford before he was even in his twenties. Daniel does indicate several times that he was the youngest PhD at Oxford, and his extremely high intelligence would make this possible, but still unlikely.

A simple and possible explanation to this would be that Eloise was not pregnant with Daniel, she was pregnant with another child, and young Daniel was already born before Adult Daniel was shot by his Mom. we were never been specifically told that that pregnancy was Daniel, we just assumed it.

Timeline Inconsistencies
"The Incident" Jin and Sun are shown marrying in a conventional western bridal dress and groom's suit. In Season Three, "D.O.C." they are shown photographed marrying in entirely dissimilar (presumably Korean) marital dress. [15] Costuming


Title Sequence

As the Series' title "LOST" moves toward the camera and into focus, the edge of the center of the letter "S" flickers black momentarily. This is due to incomplete skinning of the three-dimensional frame of the word. To date, the error has not been fixed, and has appeared in every episode.


Several small box and container props have been identified by fans as being re-used in the filming of episodes in disparate locations. These reuses are likely unintentional, and thus may be interpreted as a type of minor continuity error.

Debunked errors

  • In "A Tale of Two Cities", at the final zoom out before the "LOST" titles we, see smoke rising out of both sides of the Island where the halves of the plane landed, yet in "The Other 48 Days" we saw no smoke from the tail section.
  • DEBUNKED: The tail section in the other 48 landed on the water, yet some of it landed in the jungle which we don't see in "The Other 48 Days".
  • DEBUNKED: In "D.O.C.", we found out that Mikhail was actually still alive, so it wasn't really an error but could rather be considered a hint.
  • In "The Glass Ballerina", when Jin goes to visit Jae Lee, he exits the elevator on the second floor (as evident by a number plate saying "2"). When he confronts Jae, however, they suddenly appear to be on the 15th floor (as evident by a door plate saying "1516").
  • DEBUNKED: This isn't necessarily an error; it could cut to Jin arriving on the 15th floor, possibly omitting him taking the elevator or the stairs, due to lack of time.

See also

External links

  • - listing for Lost
  • - listing for Lost
  • - listing for Lost

This article uses material from the "Bloopers and continuity errors" article on the Lostpedia wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.

Marvel Database

Up to date as of February 09, 2010
(Redirected to Glossary:Continuity article)

From Marvel Database


Continuity is consistency of the characteristics of persons, plot, objects, places and events seen by the reader. In comic books, continuity has also come to mean a set of contiguous events, sometimes said to be "set in the same universe" (see crossover) or "separate universes" (see intercompany crossover).

[top] [Edit Continuity]

This article uses material from the "Glossary:Continuity" article on the Marvel Database wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.


Up to date as of February 04, 2010
(Redirected to Canon article)

From Wookieepedia, the Star Wars wiki.

Star Wars canon was first defined in the first issue of the Lucasfilm magazine, the Star Wars Insider:

"'Gospel,' or canon as we refer to it, includes the screenplays, the films, the radio dramas and the novelizations. These works spin out of George Lucas' original stories, the rest are written by other writers. However, between us, we've read everything, and much of it is taken into account in the overall continuity. The entire catalog of published works comprises a vast history—with many off-shoots, variations and tangents—like any other well-developed mythology."

To understand canon and continuity, the overall Star Wars saga should be looked at as a set of stories written by many different people which "document" past "events." Although some stories are more reliable than others, they all are looked upon as part of the overall "history." It should also be remembered that all of these stories are simply that—stories. There are numerous errors that inevitably arise between the stories simply because different authors have their own ways of telling the story and may not have the time and resources to perfectly align the details.

The situation can be compared to Greek and Roman mythology, or the stories of King Arthur. The various Star Wars tales are a group of separate but linked stories, and are told by many different authors over a period of time.


Canon and the Expanded Universe

This policy has been further refined and fleshed out over the years. The Star Wars website also details the role of canon, Expanded Universe (or "EU" sources), and how they fit into overall Star Wars continuity. Chris Cerasi stated,

"When it comes to absolute canon, the real story of Star Wars, you must turn to the films themselves—and only the films. Even novelizations are interpretations of the film, and while they are largely true to George Lucas' vision (he works quite closely with the novel authors), the method in which they are written does allow for some minor differences. The novelizations are written concurrently with the film's production, so variations in detail do creep in from time to time. Nonetheless, they should be regarded as very accurate depictions of the fictional Star Wars movies.
"The further one branches away from the movies, the more interpretation and speculation come into play. LucasBooks works diligently to keep the continuing Star Wars expanded universe cohesive and uniform, but stylistically, there is always room for variation. Not all artists draw Luke Skywalker the same way. Not all writers define the character in the same fashion. The particular attributes of individual media also come into play. A comic book interpretation of an event will likely have less dialogue or different pacing than a novel version. A video game has to take an interactive approach that favors gameplay. So too must card and roleplaying games ascribe certain characteristics to characters and events in order to make them playable.
"The analogy is that every piece of published Star Wars fiction is a window into the 'real' Star Wars universe. Some windows are a bit foggier than others. Some are decidedly abstract. But each contains a nugget of truth to them. Like the great Jedi Master Obi-Wan Kenobi said, 'many of the truths we cling to depend greatly on our point of view.'"

Lucas Licensing editor Sue Rostoni elaborated further on the place of printed Expanded Universe sources in Star Wars Gamer 6,

"Canon refers to an authoritative list of books that the Lucas Licensing editors consider an authentic part of the official Star Wars history. Our goal is to present a continuous and unified history of the Star Wars galaxy, insofar as that history does not conflict with, or undermine the meaning of Mr. Lucas's Star Wars saga of films and screenplays."

In a December 6, 2006 post on the official Star Wars forums, Leland Chee ("keeper" of the Holocron) made this comment in response to a question regarding whether Sansweet's "foggy window" was a window into the "real Star Wars Universe of the Films Only" or the "Star Wars Universe of the Films + EU continuity":

"Film+EU continuity. Anything not in the current version of the films is irrelevant to Film only continuity."

In 2008, Jim Ward commented on the subject when discussing Lucasfilm's marketing plan for the Star Wars: The Clone Wars TV series:

"We've stuck to a very clear branding strategy for the past decade. This is Star Wars. Individual movies come and go, as do TV shows, video games, books. They all contribute to the lore of Star Wars, but in the end it is one saga and that saga is called Star Wars. We've wanted to send a clear message to our fans that everything we do is part of that overall saga."
―Jim Ward

Canon and games


This article or section may contain original research or unverified claims.

Please help Wookieepedia by adding references.

Things are a bit more complicated with the matter of Star Wars games. The overall scenario and documentation (cutscenes, manuals, strategy guides etc) are proper EU (see C-canon below). This, however, doesn't apply to "game mechanics" and stats.

Topps card featuring Kyle Katarn, addressing the issue of carrying many weapons simultaneously.
  • Game mechanics are the "artistic license" properties of the game that separate any computer game from reality and serve to make one more playable and enjoyable; for example Kyle Katarn carrying 10 weapons simultaneously, fully and immediately recovering from wounds simply by touching a bacta tank, bodies of defeated enemies disappearing etc., are things not realistically possible. Game mechanics are also some special effects accompanying the use of Force powers, such as sounds and glow surrounding the caster, which never appear in the movies. Health, shield, and Force repository are also game mechanics.
  • Background information given in the RPG sourcebooks such as biographies, stories, blueprints, etc. is proper canon. Stats, on the contrary, are considered game mechanics. Stats include details such as weapon damage, speed, and character attributes (strength, intelligence, dexterity, health points etc).
  • In mission and quest solving, canon is assumed to be the fullest and best outcome possible of each mission/quest available as given in the briefing or scenario. Kyle Katarn, Keyan Farlander, Maarek Stele, Jaden Korr, etc. never failed their quests. Although the player can avoid some optional quests, Wookieepedia assumes that those heroes managed to complete all the "available" feats.
  • Problems can arise with customizable options such as the species or gender or alignment of the main character, until Lucasfilm releases a definite answer on this.
    So far all game characters with customizable gender, except the Jedi Exile, have been canonized to be male.
The apocryphal ending of Star Wars: Jedi Knight: Dark Forces II where Kyle Katarn becomes the new Emperor. It is non-canon since it occurs only if the player chooses the dark side scenario.
  • In side-choosing games such as the Star Wars: Knights of the Old Republic series and Dark Forces saga where the player has the choice between light side and dark side, as of yet, the light side ending has been verified as canonical by Lucasfilm in all games.
    It is not known however if it does impose additional restrictions on the secondary story and the outcome of any individual alignment-defining sidequest or choice in the game since they are not strictly set. For example the protagonist of KOTOR canonically followed the light and helped the Galactic Republic destroy the Star Forge but that doesn't mean that he didn't kill Bendak Starkiller or that he didn't join the GenoHaradan (both dark-aligned options in the game).
    However, Wookieepedia articles assume that the player picks the light side choice for all scenarios; therefore, even the secondary choices and events pertaining to the dark side or triggered by relevant choices, are considered non-canon.
  • On the other hand, ambiguity is maintained when it comes to alternative choices and solutions to puzzles with the same outcome. For example in KOTOR, the fate of droid C8-42, or the responses to Rutum, is up to the player; although dark side options can be excluded according to the above, there are still several neutral or light-sided options possible to choose from; and none of them can be taken for sure to be the 'true' one.
  • In-game events and characters that are 'triggered' when the non-canonical gender or alignment is selected are non-canon as well. For example Hanharr is not considered to have followed the Jedi Exile, since Hanharr joins the player only in the non-canonical Dark Side outcome of the game.

There are however some exceptions when an external canon source, such as an encyclopedia or Guide, state it as happening, like for example that Brianna joined the Jedi Exile. In the game, Brianna joins the player only in the non-canonical male identity. In that case, the game is inconsistent to the canon and falls under the "game mechanic" logic.

  • Battlefront games have both a Campaign and an Instant Action Mode among others. While the events in the campaign, including those that only appear there, such as the Battle of Kamino and the existence of X1 and X2, are considered canon. However, Instant Action allows players to create and replay battles in non-canon means and contain obviously non-canon gameplay elements, such as Darth Maul fighting during the Clone Wars.

George Lucas and Star Wars Canon

In the introduction to the 1994 printing of Splinter of the Mind's Eye, Lucas offered his view on the evolution of the Star Wars saga:

"After Star Wars was released, it became apparent that my story—however many films it took to tell—was only one of thousands that could be told about the characters who inhabit its galaxy. But these were not stories I was destined to tell. Instead they would spring from the imagination of other writers, inspired by the glimpse of a galaxy that Star Wars provided. Today it is an amazing, if unexpected, legacy of Star Wars that so many gifted writers are contributing new stories to the Saga."

Another notable mention, is this quote from an interview in the August/September 1999 issue of SW Insider:

"Part of the job of the director is to sort of keep everything in line, and I can do that in the movies—but I can't do it on the whole Star Wars universe."

In July 2001, Lucas gave his opinion on the matter of what is canon in Star Wars during an interview with Cinescape magazine:

"There are two worlds here," explained Lucas. "There's my world, which is the movies, and there's this other world that has been created, which I say is the parallel universe—the licensing world of the books, games and comic books. They don't intrude on my world, which is a select period of time, [but] they do intrude in between the movies. I don't get too involved in the parallel universe."

Further, in an August 2005 interview in Starlog magazine:

STARLOG: "The Star Wars Universe is so large and diverse. Do you ever find yourself confused by the subsidiary material that's in the novels, comics, and other offshoots?"
LUCAS: "I don't read that stuff. I haven't read any of the novels. I don't know anything about that world. That's a different world than my world. But I do try to keep it consistent. The way I do it now is they have a Star Wars Encyclopedia. So if I come up with a name or something else, I look it up and see if it has already been used. When I said [other people] could make their own Star Wars stories, we decided that, like Star Trek, we would have two universes: My universe and then this other one. They try to make their universe as consistent with mine as possible, but obviously they get enthusiastic and want to go off in other directions."

Lucas' statements in Starlog were commented on in a December 7, 2005 post on the forums by Leland Chee, who maintains Lucas Licensing's continuity database:

CHEE: "GL is certainly not bound by the EU, though he's certainly open to using things created in it (Aayla Secura and the Coruscant name, for example). On the other hand, the quote you provide makes it sound like the EU is separate from George's vision of the Star Wars universe. It is not. The EU must follow certain tenets set by George through the films and other guidelines that he provides outside of the films."

A conversation between Lucas and John Knoll in a web diary during the production of Star Wars Episode III: Revenge of the Sith showed more of the movie/Expanded Universe relationship:

"So how did Anakin get that scar, George?" asks John Knoll.
"I don't know. Ask Howard," says George, referring to President of Lucas Licensing Howard Roffman. "That's one of those things that happens in the novels between the movies. I just put it there. He has to explain how it got there. I think Anakin got it slipping in the bathtub, but of course, he's not going to tell anybody that."

During ShoWest 2008, Lucas gave an interview where he mentioned the difference between "his world", "the licensing world" and the "fans' world":

Interviewer: "Do you think you'd have other people continue the Star Wars saga past Episode VI or turn some of the other material into films?"
Lucas: "But there's no story past Episode VI, there's just no story. It's a certain story about Anakin Skywalker and once Anakin Skywalker dies, that's kind of the end of the story. There is no story about Luke Skywalker, I mean apart from the books. But there's three worlds: There's my world that I made up, there's the licensing world that's the books, the comics, all that kind of stuff, the games, which is their world, and then there's the fans' world, which is also very rich in imagination, but they don't always mesh. All I'm in charge of is my world. I can't be in charge of those other people's world, because I can't keep up with it."

Another noteworthy exchange between Lucas and an interviewer appeared in the May 2008 edition of Total Film magazine:

TOTAL FILM: "The Star Wars universe has expanded far beyond the movies. How much leeway do the game makers and novel writers have?"
LUCAS: "They have their own kind of world. There's three pillars of Star Wars. I'll probably get in trouble for this but it's OK! There's three pillars: the father, the son and the holy ghost. I'm the father, Howard Roffman [president of Lucas Licensing] is the son and the holy ghost is the fans, this kind of ethereal world of people coming up with all kinds of different ideas and histories. Now these three different pillars don't always match, but the movies and TV shows are all under my control and they are consistent within themselves. Howard tries to be consistent but sometimes he goes off on tangents and it's hard to hold him back. He once said to me that there are two Star Trek universes: there's the TV show and then there's all the spin-offs. He said that these were completely different and didn't have anything to do with each other. So I said, "OK, go ahead." In the early days I told them that they couldn't do anything about how Darth Vader was born, for obvious reasons, but otherwise I pretty much let them do whatever they wanted. They created this whole amazing universe that goes on for millions of years!"
TOTAL FILM: "Are you happy for new Star Wars tales to be told after you're gone?"
LUCAS: "I've left pretty explicit instructions for there not to be any more features. There will definitely be no Episodes VII-IX. That's because there isn't any story. I mean, I never thought of anything. And now there have been novels about the events after Episode VI, which isn't at all what I would have done with it. The Star Wars story is really the tragedy of Darth Vader. That is the story. Once Vader dies, he doesn't come back to life, the Emperor doesn't get cloned and Luke doesn't get married..."

Canon in the Holocron continuity database

In 2000, Lucas Licensing appointed Leland Chee to create a continuity-tracking database referred to as the Holocron continuity database. The Holocron follows the canon policy that has been in effect for years, but the capabilities of database software allow for each element of a story, rather than the stories themselves, to be classified on their own merits.

The Holocron's database includes an area for a single-letter (G, T, C, S or N) representing the level of canonicity of that element; these letters have since informally been applied to the levels of canon themselves: G-canon, T-canon, C-canon, S-canon and N-canon. As part of his work with the Holocron, Chee was responsible for the creation of this classification, and he spent the early stages developing and refining them into what they are today.

G, T, C and S together form the overall Star Wars continuity. Each ascending level typically overrides the lower ones; for example, Boba Fett's back story was radically altered with the release of Star Wars Episode II: Attack of the Clones, forcing the retcon of older source material to fall in line with the new G-canon back story. However, this is not always absolute, and the resolution of all contradictions are handled on a case-by-case basis.

  • G-canon is George Lucas Canon; the six Episodes and anything directly provided to Lucas Licensing by Lucas (including unpublished production notes from him or his production department that are never seen by the public). Elements originating with Lucas in the movie novelizations, reference books, and other sources are also G-canon, though anything created by the authors of those sources is C-canon. When the matter of changes between movie versions arises, the most recently released editions are deemed superior to older ones, as they correct mistakes, improve consistency between the two trilogies, and express Lucas's current vision of the Star Wars universe most closely. The deleted scenes included on the DVDs are also considered G-canon (when they're not in conflict with the movie).[1]
  • T-canon[2], or Television Canon[3], refers to the canon level comprising the feature film Star Wars: The Clone Wars and the two television shows Star Wars: The Clone Wars and the Star Wars live-action TV series.[4][5] It was devised recently in order to define a status above the C-Level canon, as confirmed by Chee[6].
  • C-canon is Continuity Canon, consisting of all recent works (and many older works) released under the name of Star Wars: books, comics, games, cartoons, non-theatrical films, and more. Games are a special case, as generally only the stories are C-canon, while things like stats and gameplay may not be;[7] they also offer non-canonical options to the player, such as choosing female gender for a canonically male character. C-canon elements have been known to appear in the movies, thus making them G-canon; examples include the name "Coruscant," swoop bikes, Quinlan Vos, Aayla Secura, YT-2400 freighters and Action VI transports.
  • S-canon is Secondary Canon; the materials are available to be used or ignored as needed by current authors. This includes mostly older works, such as much of the Marvel Star Wars comics, that predate a consistent effort to maintain continuity; it also contains certain elements of a few otherwise N-canon stories, and other things that "may not fit just right." Many formerly S-canon elements have been elevated to C-canon through their inclusion in more recent works by continuity-minded authors, while many other older works (such as The Han Solo Adventures) were accounted for in continuity from the start despite their age, and thus were always C-canon.
  • N is Non-Canon. What-if stories (such as stories published under the Infinities label) and anything else directly and irreconcilably contradicted by higher canon ends up here. N is the only level that is not considered canon by Lucasfilm. Information cut from canon, deleted scenes, or from canceled Star Wars works falls into this category as well, unless another canonical work references it and it is declared canon.

Leland Chee continues to answer questions about the Holocron in the Holocron continuity database questions thread at the forums.

On August 4, 2004, when asked if the G and C-levels formed separate and independent canon, Leland Chee responded by stating that both were part of a single canon:

"There is one overall continuity."

In a December 7, 2005 post, Chee commented on how the Holocron is applied to licensees:

"The Holocron comes into play for anything official being developed for books, games, websites, and merchandise. For anything beyond that, it is simply a reference tool."

In a December 6, 2006 post, Chee contradicted his original statements regarding the canonicity of the Holocron and how it applied to the Star Wars universe:

"The only relevant official continuities are the current versions of the films alone, and the combined current version of the films along with whatever else we've got in the Holocron. You're never going to know what George's view of the universe beyond the films at any given time because it is constantly evolving."

On a post made on the same day, Mr. Chee stated that:

"Anything not in the current version of the films is irrelevant to Film only continuity."

This statement confirms the priority of the "current version of the films" over the original versions, as well as the existence of two separate continuities, the "film only" continuity maintained and followed by George Lucas himself, and the "film + EU" continuity that is used for licensed products.

Subsequent questioning over which continuity was "more official" revealed that Mr. Chee favored film + EU continuity, but in the end it was up to the individual fan:

"You're asking the Keeper of the Holocron, so of course I'm gonna be a bit biased ... The reality is that a huge number of people who have seen all 6 Star Wars films have never played a Star Wars game, visited a Star Wars website, watched a Star Wars television program, read a Star Wars publication, or purchased a Star Wars action figure or collectible. It would be great disservice to discount these people as fans."

Notes and references

See also

External links

This article uses material from the "Canon" article on the Starwars wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.


Up to date as of February 05, 2010

From Teletraan I: The Transformers Wiki

Now you put all that in a blender and you get the Japanese continuity.

A continuity is a fictional universe or timeline that is characterized by recurring characters and settings and an internal consistency with regards to characterization and depicted events.

Typically, stories that are produced by a particular licensor (such as IDW) or in a particular form of media (such as comic books) are in continuity with each other, meaning that they are meant to all take place in the same "world".

This is not always the case, however. For example, the IDW comic Transformers Evolutions consists of stories that are explicitly set in different universes than the other IDW comics. IDW's own Beast Wars comics are also separate from their "main" continuity. The various coloring books published by Marvel in the 1980s might all take place in the same universe as each other, but there are no direct ties between them, and they could easily each be "in their own little world."

Still, even in cases such as these, there are important similarities. Even though Evolutions' first story, "Hearts of Steel," can't fit in the same story-world as Transformers: Infiltration, they are alternate worlds in a relatively minor sense; the same Transformers characters are present in both, they just interact with Humanity at different points in time. Marvel's coloring books disagree on many points with the Marvel comic books, but they agree on many points as well. Thus, although the coloring books and the comics are not in continuity with each other, their similarities allow both to be categorized as being members of a Generation One "continuity family".



More so than most science-fiction franchises, Transformers has been, from the very start, a collection of many varied continuities. Even before the G1 cartoon premiered, there was the Marvel comic series and an array of Marvel-produced storybooks which cannot be reconciled with each other, resulting in myriad micro-continuities. There have been so many mutually exclusive Transformers continuities that a truly exhaustive list would be nearly impossible to complete. However, it is relatively easy to list the major continuity "families".

There is a subjective component to all of this, and each fan decides for themselves how "fine-grained" they want their own personal list of continuities to be. Ultimately, it could be argued that almost every story exists in its own exclusive continuity, even different stories that were clearly intended to be set in the same universe. For example, two episodes of the G1 cartoon series that make no explicit references to events in each other, but are both "descendants" of the episode "More Than Meets the Eye", could arguably exist in different universes. There may be no particular reason to assert that they don't share continuity, but there is also no clear internal evidence that the events of one affected the world of the other. They might conceivably be set in different branches of a timeline that started with MTMTE.

The most inclusive perspective is to consider all canonical Transformers stories as existing within a multiverse which contains countless—perhaps infinite—alternate universes. Some of these universes are more closely related to each other than others, but they are all part of the same whole. This approach has been officially sanctioned in a number of stories:

  • Transformers: Universe which takes the existence of an overall Transformers multiverse as the core of its story.
  • The Armada comic storyline Worlds Collide made explicit multiple parallel universes able to sometimes interact. 75,890,008 realities are scanned in the course of the story, though Astroscope claims that there are an infinite number of alternate realities.
Japanese name: Multi-Verse of Eternity[1]


Hey, there's Waldo!

The Transformers: Universe franchise (sometimes referred to as "TFU") attempted to create an overarching structure to the Transformers multiverse. It was helmed, fiction-wise, by 3H Productions, who then held the license to run the official Transformers convention, BotCon. Convention fiction starting in the year 1997 was directly incorporated into Universe, although it wasn't until BotCon 2002 that the term Transformers: Expanded Universe appeared on a BotCon toy box, and the name was shortened to just Transformers: Universe afterwards. The Universe toyline eventually became the home of not just convention-exclusive toys, but also other repaints and store exclusives that were sold in normal retail outlets. The bios for the Universe characters were primarily the responsibility of 3H.

The Universe meta-continuity officially established the idea of a Transformers multiverse and pulled together many elements from other Transformers continuities, focusing heavily on variations of Beast Machines and Generation One. 3H's comic book series, Wreckers and Universe, brought together characters from many parallel universes and are the primary sources of information about this meta-continuity. Character bios published in convention programs, fan club newsletters, and on the 3H and Hasbro websites also contribute.

Among other things, the Universe universe makes some reconciliation between conflicting origins for Cybertron and the Transformers race that were presented in the G1 comics, G1 cartoon, and BM cartoon. It also incorporates the otherwise ignored sub-toylines Beast Wars Mutants and Dinobots into its fiction, and is the earliest example of a story that asserts (or implies) that there is only one Unicron who travels from one universe to another, rather than an infinite array of Unicrons in different universes.

Fun Publications, the company that followed 3H in running the official convention and fan club, has since continued this approach. The Fan Club comic storyline "Balancing Act" takes place primarily during the Cybertron cartoon, but features a multiversal battle fought by characters culled from other continuities. The setting changes after an arc ends as characters migrate from continuity to continuity.

Major continuity families

At this time, there are five primary continuity families in the Transformers multiverse. These are:

There is also a much less prominent continuity family centered on the Playskool Go-Bots toyline. Every (or nearly every) Transformers story can be easily fit into one of these families, even if its precise continuity can't be pinned down.

For further information about these continuity families and families in general, please see Continuity family.

Prominent Generation One continuities

Within G1, there are an almost uncountable number of established alternate universes. Some of these continuities are extremely obscure, such as the timeline which houses the second Commodore 64 video game. On the other hand, the G1 cartoon is so widely known that even many members of the general public (i.e., not fans) would be familiar with it, and quite possibly be unaware that there even are other Transformers stories besides it and the 2007 live-action film.

Following is a very incomplete list showing only the most prominent G1 continuities and their relationships to each other. For the purposes of this list, only G1-proper will be considered, and not the extended-G1 that includes G2, MW, and the Beast series. Additionally, in keeping with Teletraan I: The Transformers Wiki's policy, the live-action film is not included, as it is treated as an independent continuity family rather than a part of G1.

  • Cartoons (American) - Three complete seasons of varying length, The Transformers: The Movie, and a 3-episode "fourth season". Probably the best known of all continuities.
  • Cartoons (Japanese) - Includes the first three seasons of the American cartoons as well as three additional TV series, two OVAs and a manga series.
  • Marvel UK comics - Includes the American comics as well as nearly 100% more material that was published exclusively in the UK until being reprinted internationally in the 2000s.
  • Dreamwave G1 comics - A new continuity with much of the flavor of the original cartoon series, but a very different history. Includes the three "G1" volumes as well as three volumes of The War Within and a Micromasters miniseries.
  • IDW G1 comics - Yet another new continuity, based on earlier versions of G1 featuring classic characters but with some large revisions of basic story premise and character designs. Begins with Transformers: Infiltration, published in 2005, and continues through most (though not all) of IDW's Transformer miniseries.

Unified Japanese continuities

So that's where Machine Wars goes.

In Japan, every Transformers cartoon until the release of Car Robots (the original, Japanese title for Robots in Disguise) can be somewhat easily fit into a single unified continuity, much like the unified American G1/Beast continuity. This includes the American G1 cartoon (minus Season 4, which Japan did not air) and Beast series as well as Headmasters, Masterforce, Victory, Zone, Beast Wars II, and Beast Wars Neo. In the 21st century, they also developed a fondness for new fiction that was retroactively inserted into available gaps in the G1 timeline, like Binaltech, Kiss Players and Robot Masters. Despite this additional story material, all of these stories fit together (save for Binaltech, which was spun off into its own alternate timeline as its story progressed).

In Japan, then, Car Robots was the first full reboot. Following CR, Micron Legend and Superlink were connected into a third major Japanese continuity, and then, as noted above, Galaxy Force started a fourth.

In 2007, TakaraTomy performed some significant retcons to their Generation One timeline, most visible in a timeline posted on their website (accompanied by a flowchart, at right), and much more extensively in another one printed in the Kiss Players compilation book. The most significant aspect of this retcon was to insert Car Robots into the Generation One timeline, establishing that its characters came from the future and exploiting an unfinished manga from Super Robot Magazine to explain why the Generation One cast was not present during the events of the series(this does not explain the humans' being unfamiliar with the Transformers however). The website timeline makes one further, rather bizarre claim that is not reflected in either the accompanying flowchart or the Kiss Players timeline, which is that the 2007 live-action movie also takes place in the Japanese Generation One continuity in 2007. This seems...highly unlikely.

In addition to this serious working-over of the Generation One universe, the website timeline also took a moment to to retcon Galaxy Force back into the same timeline as Micron Legend and Superlink (as it had always been presented in the West). American fans who had spent a year whining about how Hasbro had totally ruined the show by ignoring the super-cool and awesome Japanese intent were promptly pointed and laughed at.

In addition to the above, nearly every Japanese TF franchise has had ancillary manga published in magazines such as Comics Bon-Bon. The relationship between the manga and cartoons varied. For example, the manga associated with the first two years of Transformers (pre-movie) can easily fit into the cartoon continuity, but would not contribute much of substance to the timeline. Some of the later G1 manga, however, such as those associated with Masterforce and Victory, contradict the cartoons bearing the same names.

Continuity soup

Optimus Prime's spark isn't naked. It has decency.

With the labyrinth of branching and criss-crossing timelines, it can be difficult at times to say exactly what makes up the history of any given Transformers universe. Over and over through the history of the Transformers brand, stories have been written which both extend pre-existing stories and also "fill in" pre-existing stories, adding details and retcons big and small. These extensions may be written years or even decades after the stories from which they are descended. There may be multiple extensions which conflict with each other, written at different times by different people for different licensees, targeting different markets. Branching timelines, on their own, are not that difficult to keep straight, but the relationship between various Transformers stories is much more complex than that because of the way new stories will pick and choose elements from old stories. There are no real answers to the questions that arise from this practice. It becomes a very messy question of subjective tastes and opinions, leading to the idea of a personal canon.

Consider the Beast Wars television series: It borrows elements from the American G1 cartoon and G1 comics. The past history of the Beast Wars cartoon's timeline is a mishmash, something that probably resembles the G1 cartoon more than anything else, but which differs from the cartoon in unknown ways and may include more (or less) of what we see in the Marvel Comics. BW is set in a G1 universe for which we have never seen—and probably will never see—more than tiny glimpses of the "G1 part". The history of that universe is not known, even though we presumably know its broad outline.

So, what significance does information from Beast Wars, such as the idea of the spark, hold for those older stories? Since being introduced in "The Spark", sparks have become one of the most important and unifying concepts in all Transformers fiction, yet fiction which predates Beast Wars, of course, never mentions them. G1-era fiction which was written post-Beast Wars almost always includes them. Retconning sparks into most vintage G1 fiction is not all that difficult, but should it be done? Obviously, the G1-esque universe in which the Beast series are set has sparks, but what about the actual G1 cartoon and comic universes? Do they have sparks? Does the G1 cartoon's future (and past) look like Beast Wars or like something else?

What if a new story instead claimed that its past was exactly like an old story rather than merely similar to it? The main storyline of the Universe and Wreckers comics is ostensibly set in the BW/BM cartoon continuity, happening alongside and immediately afterwards. Are revelations from Universe "true" in Beast Machines, or is Universe actually set in a timeline which is identical to the BM timeline aside from those extra events occurring? Does your answer change when IDW Publishing releases a Beast Wars comic which also claims to occur alongside the BW cartoon, but which cannot be reconciled with Universe?

What do you do with something like the Classics comics published in the official fan club newsletter? Those stories are set in the future of the US G1 comic, except...that they ignore the UK G1 comic and the US G2 comic. According to G2, there is an offshoot race of Decepticons running around in space who have been away from Cybertron for millions of years. Is that still true in other offshoots of the G1 comic? Is Jhiaxus out there in Classics-comics space somewhere, and simply not visiting, or does he not exist at all? He could exist...but there is no way to know.

The only objective way to deal with all of this would be to take a very strict viewpoint on every story and never assume that anything is "true" unless it is explicitly stated in that story. Taken to an extreme, though, this stance can make it impossible to declare any two stories to share continuity, even two sequential episodes of a given TV series. For all we know, the new episode is set in a universe closely parallel to that of the previous episode but a little different. We wouldn't want to assume that a scene which wasn't shown in the recap actually occurred, after all. Especially if there's a continuity glitch of some sort, like the dialog in a recap being slightly different than the dialog from the earlier episode. So an absolutist "only what they showed" viewpoint can't really work. There has to be some concession; even "I'm going to treat all the episodes of this series as if they are one big story" is a subjective decision, one which another fan may find too restrictive or too liberal (especially if two of those episodes directly contradict each other!).

We...are family?

Lastly, all of this means that it is difficult to tease out questions of which continuities are subsets of others, how closely related two different continuities are, etc. A significant example of this is the categorization of the various IDW and Movie continuities. Both are clearly beholden to Generation One in many ways, but are generally thought to be notably "further out" from the G1 "core" than most other G1 continuities. Should they be considered new families or not? How do you quantify this? Do differences in physical form such as the movie's drastically different aesthetic make a difference? If so, should it also make a difference that most IDW characters have had their alt-modes altered slightly? What ratio of character rehashes to original characters is required to count as part of the old family instead of the start of a new one? What if, instead of a straight-up rehash, it's more of an amalgamation of a few old characters, as in the case of Movie Frenzy?

Again, the reader is referred to the article on continuity families, in particular the section "quibbles", for a brief explanation of the categorizations that have been adopted on this wiki.


  1. Takara's "World of Transformers" site.

This article uses material from the "Continuity" article on the Transformers wiki at Wikia and is licensed under the Creative Commons Attribution-Share Alike License.


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