With the success of our first art episode, we now go the work of the late Concept Artist Ken Rabehl for Seasons Two and Three of Stargate SG-1 with some amazing pieces! We also have content from Concept Artist Brenton Harron, who supplied drawings for the aliens in Season Three’s “Foothold!”

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00:00 – Opening Credits
00:27 – Introduction
1:03 – Call to Action
1:59 – Pilot Designs
5:27 – Within the Serpent’s Grasp
7:25 – The Serpent’s Lair
8:08 – In the Line of Duty
8:53 – The Gamekeeper
9:50 – Need
11:15 – Thor’s Chariot
16:32 – Message in a Bottle
20:10 – Bane
22:10 – The Tok’ra Part 1
23:48 – Spirits
25:45 – Touchstone
27:05 – The Fifth Race
28:42 – Serpent’s Song
29:10 – One False Step
30:34 – Show and Tell
32:55 – Into the Fire
34:35 – Legacy
35:17 – Deadman Switch
36:56 – Demons
37:41 – Rules of Engagement
38:11 – Jolinar’s Memories
38:57 – Foothold
39:53 – Pretense
40:18 – Urgo
42:06 – New Ground
42:44 – Maternal Instinct
43:36 – Nemesis
45:01 – Wrap-Up
46:25 – End Credits

***

“Stargate” and all related materials are owned by MGM Studios and MGM Television.

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TRANSCRIPT
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David Read:
Hello, everybody. Welcome to Episode 85 of Dial the Gate: The Stargate Oral History Project. My name is David Read. You’re back for more torture. Stargate SG-1 Seasons Two and Three concept art are gonna be covered in this episode. By no means a complete list of concept art, but there’s more than likely a few pieces of concept art that you’ve never seen before if you are in this space. There’s a few things that I wanna show to you this episode. Before we get started, though, if you like Stargate and you wanna see more content like this on YouTube, it would mean a great deal if you click that like button. It really makes a difference with YouTube’s algorithm and will definitely help the show grow its audience. Please also consider sharing this video with a Stargate friend. And if you wanna get notified about future episodes, click that subscribe icon. Giving the bell icon a click will notify you the moment a new video drops, and you’ll get my notifications of any last-minute guest changes. This is key if you plan on watching live, and clips from this livestream… Actually, the clips from this one, this is a special, so these will not be released for a little bit, but eventually we will have clips from the livestream, something I’m gonna be working on later this year. Without further ado, let’s look at Season Two and Three concept art from SG-1. Ken Rabehl made most of this. Brentan Harron did make some. If I see Harron’s name, I will do my best to call everyone out. No one’s perfect, but I will do my best. Before we get to Season Two and Three, this is probably something that I’m gonna start doing on a regular basis, pieces that I missed from previous episodes. Let’s start off with a few pieces that you might have seen before. This is something that was developed for “Children of the Gods,” actually, and I probably should wait until I do a “Children of the Gods” exclusive episode, because there was a lot of costume art and props art that was created for “Children of the Gods.” But I really wanted to show it to you here, a couple of these. They’re very significant. This was… and it had to have been created as a lark, Serpent Guard helmet concept. Were it total CGI and you used the film as a starting point, and they went even further with it, I would have been really interested to see this on screen. This is a dramatic departure from some of the other stuff. And we do have the Serpent Guard artwork from “Children of the Gods” that I will be showing when all is said and done and I’m gonna go back around, kinda like Brad did with the final cut, and show “Children of the Gods” content. But I really wanted to show you guys this first. This is… Wong may have done it as well. Hopefully we’ll get these guys on at some point. Ken Rabehl, may he rest in peace, he is no longer with us. That’s why I’m going through this content without him here, ’cause he couldn’t have provided his blessing. But this is one of my favorite pieces, and this is an original. Really, really cool. Tremendous departure from what came before. For something else in the development of “Children of the Gods,” they were developing the DHD and they were trying to figure out, “OK, what’s this thing gonna look like?” Someone out there had apparently watched Star Trek: The Next Generation or had influences from it. Check out this. This is a completely different concept for the Dial Home Device. This would’ve been so cool to see. Not necessarily as practical, though, and I can’t blame them for not wanting to go this way. We’ll get Danny Boy there workin’ on that. Come on. There we go. Can you imagine if it had gone this way? Exterior mountain top Chulak, Dial Home Device concept, touch panel with celestial symbol. This is the thing that I love about concept art, because it showcases, in some instances, a dramatic redirect. Either this came first, or they were like, “You know what? Let’s try a few different things.” And they didn’t go this way for whatever reason, but in some instances, not necessarily in this one, you can see where they were coming from to go where they went with what ultimately ended up on screen, which is one of the reasons that I just love this, because you can’t in this one. It’s so vastly different, and it’s just one of my favorite originals. If you look really closely in my collection, you can see the pieces which are original and which ones aren’t. It was a lot of money that I went through to get these, a lot more than I’d care to admit. One we missed for Season One was Skaara aboard his Pel’tac. That’s Goa’uld for bridge, but most of you probably already know that. This is clearly a… That console was taken from the feature film. A lot of people are like, “Why don’t you do screenshots?” Because I’m not gonna be responsible for dumping all of this content online where anyone can print it and start selling it. That’s my real fear there. I trust most of y’all, but some of y’all… Absolutely beautiful, beautiful piece here. Ken, man, I wish I could’ve talked with him for this show. There is so much that I wanted to ask him. I’m just so thankful that we have James Robbins willing to contribute. Another one from Within the Serpent’s Grasp. Yes. This is another concept for the hallway. They did so many drawings for the hallways, and I can understand why because these sets stood through Season Five, and were used in all other kinds of circumstances as well. You can see them in “Wormhole X-Treme.” You see them in “The Tomb.” You can see the basic archways and spaces where they put bricks on top of it for Tiamat’s tomb. But there’s a little Carter and I think that’s Jack behind her. OK. Now, onto Season Two. All right. Now that was a grenade. Interior Apophis ship cavern mat. So, this is basically the equivalent of the warp core for all intents and purposes. I love the subtle use of whiteout. These specs here, these are all whiteout. And they stand in for lighting. In a lot of concept art you’ll see that. Little teeny tiny tricks. How about the Ashrak device from “In the Line of Duty?” Color and technical notes. Ring metal has a dark copper color with naquadah lines. Jewels are to emerald green and turquoise and burgundy to be rigged for lighting. ‘Cause that was achieved as a visual effect. Refer to model for sizing and fit details. Really, really cool. I like how they identified the middle finger there, to make sure that they got it right. And how about that funky hat for the game keeper? Check this out. How cool is this were he an alien? And notice the look. Who else does that look like? Ah? Ah? Ah? The Salish Spirits. So, you can see how something was designed for one thing, and then they were like, “You know what? For this one we can’t,” or, “We’re not ready yet,” or, “No, we can’t… We wanna allocate that for something else.” So, you can see where the gamekeeper’s look went into the look for the Salish Spirits. Can you just see that being Dwight Schultz? “You are ruining the garden!” Mead. Taking the look from Abydos and moving it further. Pyramid and mine exterior mat. I can’t decide if these are supposed to be mother ships or if they’re supposed to be just really advanced pyramids. This one doesn’t necessarily look like a mother ship so much as it looks like an advanced pyramid. They were really careful not to get too close to the pyramid design from the feature film in terms of when it appeared on screen, they didn’t really dwell too much on that particular technology. I’ve seen online it’s called a Cheops-class pyramid, Ra’s mother ship. I don’t know where that comes from. That may be original notes from the feature film, that the phrase Cheops class never appeared on screen, or was spoken on screen I should say. Phrases don’t appear unless they’re written. But this is a cool one ’cause you can see the mine and the details of the workers and then the city beyond Pyrrus’ settlement. Or at least the people of Pyrrus. And then something very similar for “Thor’s Chariot.” Got a few pieces for “Thor’s Chariot” here. Been literally looking forward to sharing some of these. All right. Pyramid ships under construction. This looks far more like a pyramid ship considering the bases are… I suppose it could be… The other one could be a pyramid ship too. They’re just rocks on the outside as the base. But very much similar design. Goa’uld ship mat. Let’s take a look at Heru’ur. So, they were taking the designs from the feature film and modifying them for their use. This was the only drawing that was done according to what this says. OK then. Can you see Douglas Arthurs? And the eyes. Exceptionally cool. And they do it offscreen when the transformation is done, ’cause it just would’ve been cost-prohibitively expensive. And it’s one of those things where you have your eyes on the actors and you hear the sound effect and it’s like, “Ah, come on.” But at least in close-up in “Secrets,” we do get the effect. And it’s pretty well done, all things considered, with Teal’c. “Thor’s Chariot,” the first room, the test room, the first test room. Abyss, high angle. So, I’m guessing that that is Gerwin. It’s supposed to, I’m not sure who it’s supposed to be, but it ended up being Gerwin. But I love the sense of depth. “Thor’s Chariot.” One of my favorite ships from all of Stargate continuity and lore is Thor’s mothership. I think they wanted just a few different radical designs. This is the most radical I’ve seen, and it is exceptionally cool. So, if you were gonna take the hammer from Mjolnir and make a ship with it, take a look at that. Can you imagine that as a concept for Thor’s ship? And you can see some of the elements that they used later on in the design, like the pods. Pods light up between slats when energy ring forms. They are suspend in ring, surround without visible means. So, they kind of float. They float, Georgie. All right. Even more radical than that, this was April 9th, 1998. This was March 16th, 1998. This was before, but it is so cool. Take a look at this. This is one of my originals. I love this piece. It just keeps going and going. All right. Now, take that design aesthetic from this and put it towards what ultimately was, and you get this. So, you see the pods here, and obviously the Mjolnir shape. And you end with this, which was the final design. Inside of the spindle-like structures around central axis shaft are intensely illuminated. Exterior Goa’uld camp, “Thor’s Chariot.” I don’t have a date on this. This was drawing number three, set number seven. But I mean, you can see the progression from one to the other. This is what I love about concept art. You can infer so much. You can be led astray by the order of certain things in development. But I mean, you can see they took the pods and they converted them into the drive shaft of the spaceship, as it were. I love that. Some episodes definitely got more… let me rephrase. I definitely have more concept art for some episodes than others. Based on the records that I have, it does suggest that some episodes were given more time for development than others. And “Message in a Bottle” is certainly among those. We have several different designs here. This is the interior of wherever the device was being held. And SG-1 space suits before they went with a much more traditional NASA look. The Orb room, that’s it. The Orb. Good morning, campers. Let’s take a look at one of the possible exteriors. You can almost see design elements that were carried into the Orbanian technology with the naquadah reactor. It’s very Borg-like. I love anything with a Stargate in it. It just makes me smile. See? And another look. You don’t really get a good look at the structure in this series. Not as good as I’d like to see it. I forget what we labeled this as, like the Orb planet or something. Take a look at the gate room. We don’t often get concept art of the gate room. Or the puddle, for that matter. There’s Jack getting impaled. Either he’s losing his spirit, his spirit is being impaled, or that’s a time… O’Neill position one, O’Neill position two, I never noticed that. Ah, position one and two, look there. You learn something new every day. And the 50 cals, we sold those at Propworx. Those were heavy. All right. Now, what was inside the orb? There was a chance that we could’ve seen something inside the orb, so they gave it to us with this. I’m not gonna read all this for you. You can screencap it, take a look. That’s the exterior. So, just a little civilization. I mean, if something were to happen to our civilization and we were a few thousand years more advanced in technology, I could see us doing something like this. To maintain our essence. Or when we reach out into the galaxy, God willing, and we leave our solar system behind as our star begins to fade. So, maybe something like this will be left on Earth, some kind of organic technology. Bain, Christopher Judge’s triumph of sitting still all day without being able to go to the bathroom. I mean, how gross are we going here? That’s pretty darn gross. All the little ones are just ready to climb out. That’s not even Christopher Judge. That’s someone else. And then Christopher himself. We rarely get really close-ups of the cast in drawing concept art. James Robbins did this to fair effect with his Photoshop work ’cause he took pictures of them and then went over the top with them with whatever he was working on. That’s a pretty good one of Chris. It’s sometimes tough to remember that these are not art per say, you know, in the traditional sense. These are production assets. They are a means to an end. They are art, but they’re not designed for admiration specifically. They are designed to finish a larger project. And the fact that they put the detail that they do in, I mean, they could just walk away and say, “I don’t need to fully render the Jaffa symbol. Everyone in the office knows what that’s supposed to be.” But they go to the trouble. They really, really do. Ken was a genius. How about the Tok’ra? We see this in a dream at the beginning of “The Tok’ra Part One.” It’s one of those strands in Stargate that I have a hard time swallowing, that sometimes what they have to do story wise to pull off is Sam conveniently remembering the gate address of the planet that they were last at, that they haven’t moved from since. It’s necessary for the story because they have nothing else to go on, so I buy it. I just barely buy it. But the concept art for the Tok’ra tunnels here, so cool. Stargate room, another planet, yet another planet. And then the Tok’ra tunnel crystals as we saw them in Seasons Two, Three, and Four. Interior large room showing ledge and shelf. I love how the Tok’ra look evolved. They were originally very Greek, and then they went with the pig’s stomach lining, and then eventually went to the leather. Man, those poor pigs and cows. Good old Danny. How about the Salish? One of my favorite episodes. “All right, Xe’ls… Tonane, I won’t lie to you. Something is wrong. We need to find Jack.” “OK. He’s not in here.” Let’s start at the bottom here. The timeline for the enslavement. Tonane’s people being taken through the Stargate by Jaffa, slaves going through the gate, Xe’ls kills the Goa’uld and saves Tonane’s people. Slaves are now free, protected by Xe’ls. Raven, and Oso, the white wolf. That was changed to T’akaya. I love this piece. It is so cool. You see how these things evolve over time. And the circle of standing water. Trinium. This is trinium, that’s trinium. Look, it’s all made oft. We got some trinium over here. It’s the number 23 everywhere. Negative spaces around Jaffa and Stargate are cutouts. Detail lines around Stargate, Jaffa, and trinium. Feather ends are to be, what is that? Routed around inlay. Wherever there is trinium. That Jaffa has extra leg joints. Looks like a frog. I would love to have a replica of this, and I don’t know where the original is. I would love to have a Touchstone. “Did you bring the Touchstone?” “No, Merlin, they don’t have it.” I mean, how cool is that? The paint job should really be… I mean, they just did a great number on it. And the shrine and the Touchstone, statue shrine. You can see ’em in there. I tried to come across the artwork for the statue. I could not find it. One of my favorite pieces. I need to get this thing framed. Here we are, “The Fifth Race.” Repository sketch. It’s a repository all right. Some of the design elements I keep with these, a lot of these that I’m not showing you right now are progression sketches more for storyboards. I will do those in a different video. I just collect and keep all the episodes together. Here’s a look at the Knowledge device. And you can see how a lot of this was used to influence Merlin’s weapon repository, ’cause it’s all the same technology. It’s the same race. Just over millions and millions and millions of years. It lasted for a really long time. I’ll never forget when that thing went around Jack the first time and I was watching. It’s like, “Ah, no, they’re gonna do something to his eyes. It’s about to get gushy.” And they kept it all right, ’cause I mean, he’d already been impaled, and I was like, “Oh, well, you know, what’s gonna happen next?” Apophis’ something-ship. The glider, one of my favorites. “Serpent’s Song.” What a great show. Another favorite of mine. A lot of people don’t care for this one. But I do. Focus, come on, man. There we go. The pod people. The things that we don’t understand that we’re doing when we go out into the world, or in this case, another world. And then here. Alien village, “One False Step” again. And look at the pod plants a little bit more closely. They require five versions full-size of these to be made. OK. They were so cool. That was so well done. You wanna see what a Reetou looks like close up? Check this out. I really wish that we had seen the Reetou more. I just don’t think that they really knew what they wanted to do with him. Or maybe it was purely a budget thing. I’d love to have Brad on to ask. Height of Reetou is that of a man or slightly less. The art department color samples of bug photos. Claw cannon, we definitely got to see that pretty well-rendered, and it’s pretty close to what’s on screen. Only a mother could love that face. And they also did an alternate paint scheme here, I’m guessing. Then the back side of him here. What about the trans-phase eradication rod? The TER, the good old TER. Sawed-off staff type. So, you can definitely see the design influence and how that became this. This is the one we’re more accustomed to looking at. You ready for Season Three? Man, took me 30 minutes to get to this part, I apologize. We’re gonna have to start clicking along with these a little bit faster. All right, one of my favorite originals, the needle threader, as we call it. I would love to have seen this design again, to carry over the fact that they exist, not just for one episode. And then alternates. Bird-like. I like those kinds. Carry over the Horus kind of element to it. And then a render of that in all of its glory. Stokes Pit. And the interior of Hathor’s base with the back of the gate room pulled away, which is just a wall, they just put in a green screen. So, the doors to the stage come out, and then that’s what we got for that. It’s a pretty convincing use of the space. It did the job very, very well. A close-up of the Goa’uld killer. They call the Linvers [sic], I think, their race, is translucent… Or the people were. The translucent puddle that pulses forward. So, I guess it does this. And skeletal insides can be seen. So, just imagine getting one of those stuck in your ear, full size. I don’t know, man. I don’t think it would fit. But it’s interesting that they create a biological weapon to go in there and literally kill the Goa’uld. So, this design was carried through to Universe and everything else. Goa’uld cargo ship, ” Deadman Switch.” One of my more favorite designs from Stargate. And boy, did they get a lot of mileage out of that one. And then the interior, complete with Aris Boch. And I guess Daniel. I mean, they’ve definitely got the “you know who I’m talking about” look on that one there, particularly the helmet. Don’t kill me, Lucasfilm. They really did a good job capturing that design aesthetic on the practical set. And here’s the… I guess this is a storyboard, but let’s show that in terms of the movement of the door. Side elevation, landed position, ship entrance doorway, stage one of flying position, cargo ship lifts, wings slide out and move forward. Just so cool. And I’m gonna save this one for later. That’s really much more… The cannon from “Demons,” the cannon’s ring. As gold, 24 karat, blood red stone as naquadah, different sections as naquadah. Black void gack. So, this allowed him to behave like an ascended being, pulling lightning from the sky. And then Vala later used it in “Prometheus Unbound” to heal Daniel’s wounds. So, I wouldn’t have been surprised if the cannon could also heal with it too. It wouldn’t have surprised me at all. It would have increased his power immensely. So, lightning bolt control ring, and then the vacuum, vo’cum, whatever, go get it. Inside rim to light, globe to glow. All buttons to light off and on. One of the cooler designs. They introduced a lot of Goa’uld tech in Season Three, tacluchnatagamuntoron, intars, vo’cum. “You will call me Nao’nak no longer. From this day forth, I reclaim my true name, Seven of Nine, Tertiary Adjunct of U–” OK. This is the episode that started GateWorld, called “Star Guide” at the time. This reveal was key to the conversation that we are having now, which just goes to show you, the ripples, make good ripples in the world. Go out and stick your head into the wind and get creative with your fandom and bring it back to the rest of us. The alien heads. I forget what they’re called in the novels. I think the novels have a name for ’em, because the Stargate Command Wiki has a name for them that’s outside of canon. And you can see where this little visor area here, where Alex Zahara and his minions would have seen. Would you like to have a look at the Tollan Stargate? We did not get to see this thing to its full glory on film. And that’s a crying shame, because how many cultures have built a Stargate? The Ancients, the Ori, the Tollan. Who else? I mean, so I’m gonna give you an eyeful. I’m not sure who that’s supposed to be. It’s definitely not Narim, but I don’t know who it is. It’s probably someone in production. Face of Stargate to be flat metal surface, finish as stainless steel, star pattern to be etched into metal. I would have loved to see this gate. I’d love to see someone make a Tollan gate at some point. “I am Togar, and here is my weapon.” Mercury-filled vial. Static electricity ball. And what about his little critter? I loved this thing. Wish we would’ve seen more of it. He was studying it. Alien animal to be created by VIS effects. Cage container to hold water, finish base as for vac form sample. So, he could carry this one. I guess he ate crystals for food or something. Very cool. Poor thing. You wanna see Urgo as he is? Urgo is this. So, there’s what we see in the X-ray, and then that’s his communication device. It’s Togar’s interface with him, and Dom DeLuise’s ear, “I hear you. Be silent.” 6,000 magnification. “New Ground.” A lot of people have mixed feelings about this episode. I think it’s a good morality tale. Finish top surface as black and med gray camo. Started seeing some ships from other cultures. This one, “The Other Side,” so very, very cool. Embrace Dome and Disalla. Let me show this one first. If this still exists in Vancouver, this location, I would really love to see it, the Zen Gardens. I would really love to go here, but I’m not sure where it is, and that’s my ignorance…. once it no longer costs $3,000 to visit from quarantining. But this is ultra cool. And then interior, which was a set. Eight-sided star. Interior temple. I just realized that one of my artwork is on the wall here, so let me go get it. See, you can’t do that live. All right. So, this is concept art for Thor’s Bilskirnir mothership, and blast, it’s got a reflection. First real look that we have at replicators. This is so cool. You can see why I have this on my wall. It’s just so insane. And then to finish out, last but not least, floating wreckage and spider. You can’t hear many pictures, but you can hear that one. Don’t lie. The replicators. We had a great conversation with Rob Cooper, our first interview with him. We talked about the replicators, ’cause they wanted a race that you couldn’t appeal to, and they just do their thing… Seasons Two and Three concept art. Hope you enjoyed that. A lot more to go. I’m gonna go ahead and tape Seasons Four and Five here next, and a little bit here and there, so we can air that later on in the year. But that’s a pretty sizable part of my collection. Rachel Luttrell is gonna be joining us in just a little bit here. Let me see. She’s gonna be joining us at 12 PM Pacific Time. We’re gonna go ahead and give her some space to come in. I’m gonna go ahead and wrap this up now. I really appreciate you tuning in. If you like what you’re seeing, if you wanna see more content like this on YouTube, it’s very important that you click that like button or comment down below because the YouTube algorithm will spread this content to more Stargate fans out there who don’t have access to it. It’s not coming across their feeds. So, any help that you can do to spread the word on this, especially if you like concept art, if you wanna keep seeing more things specifically like this, then it’s important that you do that, because we can otherwise do interviews and other such things. But if you like seeing production assets, if you like seeing a peek behind the scenes in terms of how stuff was made, that’s what we’re doing. So, I appreciate you tuning in. My name is David Read for Dial the Gate. We’ll see you on the other side.