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The Order of the Sith Lords, also known as Bane’s Sith Order, Banite Sith, or simply the Sith, was an ancient Sith organization of Force-sensitives who utilized the dark side of the Force. Founded approximately one thousand years before the Battle of Yavin by the Sith Lord Darth Bane, it was intended to replace the Brotherhood of Darkness and institute a rebirth of the . 1, Followers, Following, 22 Posts – See Instagram photos and videos from Abdou A. Traya (@abdoualittlebit). We would like to show you a description here but the site won’t allow more.
 
 

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This article or section needs to be cleaned up to conform to a higher standard of article quality. Please follow the article standards laid out in the Layout Guide and the Manual of Style and complete this article to the highest level of quality before continuing on other articles. Remove this message when finished. Please see the relevant discussion on the talk page. Founded approximately one thousand years before the Battle of Yavin by the Sith Lord Darth Bane , it was intended to replace the Brotherhood of Darkness and institute a rebirth of the Sith.

Under this new tenet, only two Sith Lords were allowed to exist at any given time; a master and an apprentice. The Rule stipulated that after learning everything the master had to teach, the apprentice would attempt to kill the master and take an apprentice of their own.

The intended effect of this rule was to ensure that each successive master would be stronger than the last. Ultimately, Bane intended that his successors would be able to amass enough power in secret to engineer the fall of the Republic and the destruction of the Jedi Order. Bane’s expectations of the new Order were met with his death at the hands of his own apprentice, Darth Zannah. The tradition was carried on over the next millennium, even though many Sith who followed in Bane’s lineage were appalled at the thought of being slain by their own apprentices.

Sidious, who usurped his Master’s position, ultimately fulfilled Darth Bane’s dream: the return of Sith dominance throughout the galaxy. With the betrayal and near destruction of the Jedi Order , Sidious dissolved the Galactic Republic and replaced it with the Galactic Empire.

Ruling as emperor in his public guise as “Palpatine”, Sidious’ reign was prophetically ended by his own apprentice—the Chosen One , Anakin Skywalker. Though he returned in the form of several clones , each inhabited in turn by the Emperor’s dark spirit , Sidious’ final demise in 11 ABY ended the line of Bane and Zannah. The collapse of Darth Bane’s Sith Order, however, did not bring about the final end of the Sith itself. She regarded her greatest achievement in the form of her apprentice Darth Caedus , a grandson of Anakin Skywalker and the first active Sith Lord since the reign of Darth Sidious.

Under the Rule of One , the new organization permitted the existence of many Sith Lords, all of whom ultimately answered to the authority of a single Dark Lord. This was known as the Rule of One. Initially a member of the Brotherhood of Darkness , Bane delved deep into the secrets of the ancient Sith Lords to increase his own knowledge and power in stark contrast to most of his contemporaries.

Bane’s investigations led him to the conclusion that the Brotherhood was a perversion of the Sith; ultimately little more than a copy of the Jedi Order , the Sith’s mortal enemies.

Disillusionment and contempt for the Brotherhood drove Bane to journey to the planet Lehon where he discovered the holocron of Darth Revan. Bane was inspired by the ancient Dark Lord of the Sith. Through Revan’s philosophy regarding the dark side of the Force , Bane saw the power and discipline that he felt a Sith should have; qualities which he believed had been lost under the Brotherhood of Darkness. Upon renaming himself as Darth Bane, the new self-proclaimed Dark Lord of the Sith was more convinced than ever that the Brotherhood could never defeat the Jedi Order.

To do so would require a drastic reshaping of the Sith as a whole; a reshaping that required the annihilation of the Brotherhood. During the Seventh Battle of Ruusan , Bane betrayed the Brotherhood to the Jedi, allowing the Republic to send critical reinforcements to the beleaguered Army of Light. With the exception of Bane, all members of the Brotherhood were exterminated by the thought bomb , an ancient Sith technique unleashed by the Sith’s own leader, Lord Kaan.

With the Brotherhood destroyed, the galaxy at large believed the Sith to be extinct. Darth Bane did nothing to disprove this assumption, feeling that as long as the Jedi remained convinced that the Sith could never return, he was free to proceed with his plans to create a new Sith Order.

His work began shortly after discovering a Force-sensitive Human female child on Ruusan. Sensing her potential in the Force , Bane took the orphaned Zannah as his Sith apprentice.

Instead of the thousands who were admitted into the former Brotherhood of Darkness, the Order of the Sith Lords only permitted the membership of two beings; a Master , the embodiment of the dark side’s power; and an apprentice, the disciple who coveted said power. Its main focus, as envisioned by Bane, was to prevent the Sith from becoming destabilized by the ambitions and intrigue of too many members. Furthermore, Bane wanted the dark side to be concentrated into just two individuals, as he believed that its power was finite and had been diluted among the many members of the Brotherhood.

The Rule of Two also served to ensure the continued survival of the Sith by dictating that the Order should operate in secret. By limiting membership to just two Sith Lords, Bane believed that he could keep his machinations hidden from the Jedi.

He fully believed in the power of the dark side, but also felt that two Sith Lords could never defeat the entire Jedi Order in a direct confrontation. Rather than openly challenging the Jedi through martial means, the Dark Lord concluded that the Sith’s rise to power would be far better served by utilizing cunning, stealth, subterfuge and—a virtue borrowed from their own enemy—patience. Together, Darth Bane and Darth Zannah steadily worked toward the ultimate goal of their organization from their hideout on the planet Ambria.

Aside from the Jedi Order, Bane also targeted the Galactic Republic as another victim of the Sith plot for retribution. But rather than contributing to the complete destabilization of the galactic government, the Dark Lord wanted to ensure that it remained intact throughout the coming centuries. Given that the Republic unified much of the known galaxy under one system of government, Bane believed that the Republic’s collapse would lead to the creation of numerous small, independent states.

In Bane’s opinion, destroying the numerous smaller states would have been a far more difficult task than toppling the single, large government of the Republic. Hence, he dispatched his apprentice on many missions aimed at preempting Anti-Republic movements, such as a Separatist movement on Serenno.

Through the machinations of Bane and Zannah, the Separatists were goaded into launching their insurrection long before their movement was ready for a conflict with the Republic.

In the aftermath of their failure to kidnap Supreme Chancellor Tarsus Valorum , the Separatist organization was eventually disbanded and Serenno remained with the Republic. At the same time, Bane and his apprentice also concentrated their attention on the study of Sith magic , learning all but forgotten dark side techniques found in ancient scrolls. This task was largely left to Zannah however, as Bane himself stated that he had no affinity for such arcane abilities.

Tracking Bane and Zannah to Tython , the Jedi made an attempt on the lives of both master and apprentice. The Sith ultimately survived the confrontation, but Bane was severely wounded during the fight. Darth Zannah was not prepared to allow her Master to die, if only because she felt that there was much more to learn from Darth Bane.

She traveled back to Ambria to enlist the help of the healer Caleb , whom she believed represented Bane’s best chance for survival.

Upon arrival however, Caleb refused to help them, even under threat of torture or death. Darovit , Zannah’s cousin, offered to convince Caleb to help Bane, but only if Zannah agreed to surrender herself into Jedi custody along with Bane. Zannah agreed to her cousin’s terms, and he contacted the Jedi Temple and asked them to send a team to take custody of the two Sith.

However, Zannah had lied to Darovit, pledging to surrender to the Jedi for the sole purpose of convincing him and Caleb to repair Bane’s injured body. Once their task had been completed, Zannah killed Caleb and used the dark side to drive her cousin insane.

The team had been sent by the Jedi Council arrived on but only found Darovit utterly consumed by madness. In his madness, he attacked the Jedi task force, but was cut down almost immediately. Darovit’s behavior led the Jedi to believe that he had been the Sith Lord that they had been sent to apprehend, driven mad by drawing too heavily on the power of the dark side.

As such, they believed the Sith menace to be truly extinct at last. This assumption lead them to make the decision to leave Ambria without conducting a more through investigation; Zannah and Bane had in fact been hiding, cloaked by the dark side, in the very hut in which Darovit had been killed. When Darth Bane recovered, his apprentice explained how she had manipulated the Jedi Order into believing that the Sith were finally destroyed. Darth Zannah also explained that—in spite of the risk of discovery and capture—she still needed her Master in order to finish her training, but would not hesitate to kill him as soon as her powers eclipsed Bane’s.

The Dark Lord was pleased by Zannah’s ambitions, and was filled with a sense of confidence in the future of the Sith. Posing as brother and sister—Sepp and Allia Omek—the two lived in a mansion and possessed considerable wealth, which had been appropriated from the vast accounts of the former Brotherhood member Qordis.

Much of this wealth was used to create a vast network of spies and contacts. By this time, however, Darth Bane’s health had begun to deteriorate at an accelerated rate due to the harmful side-effects of his deep immersion in the dark side of the Force. Though unafraid to accept his own death, Bane feared for the future of his Sith Order.

In the ten years that had passed after his near-death experience on Tython, Bane had waited for his apprentice to kill him and become the next Dark Lord of the Sith.

Yet as far as he could tell, Darth Zannah seemed either content to serve at his bidding, or was simply waiting until her Master was too feeble to pose any challenge. As a result, Bane became obsessed with discovering some way to prolong his life in order to train a new apprentice. However, unbeknownst to Bane, Zannah had decided that the time had finally come for her to challenge Bane and attempt to claim the title she had coveted for so long.

She also decided to claim an apprentice for herself in advance. Her choice fell on the Dark Jedi Set Harth. However, the selection of Harth as her disciple was a rushed decision; Zannah would have preferred someone more interested in the continuation of Bane’s Sith rather than a fallen Jedi who cared only about himself. By the time Zannah and her apprentice tracked Bane’s location to Doan , the Dark Lord had discovered information on how to prolong his life. Through the holocron of Darth Andeddu , Bane learned of the ability to transfer one’s own spirit into another body.

Shortly after learning this information however, Bane had been captured by an Iktotchi female known as the Huntress and her small strike team. In the employ of Caleb’s daughter Serra , the Huntress had brought Bane to Stone Prison on Doan, where Serra had intended to kill him on the assumption that he had killed her father.

Zannah and Harth arrived on Doan shortly thereafter, with Zannah intending to kill Bane and take his place. Bane managed to escape his captors, and encountered Zannah, who accused him of betraying the Rule of Two and attacked him.

During Bane’s confrontation with Zannah, the unarmed Bane managed to hold off Zannah long enough to escape. However, Serra, learning of Bane’s escape, activated a series of explosives in the prison, intending to collapse it.

During the duel, Harth abandoned Zannah and stole Andeddu’s holocron. Intending to flee Doan with it, he proceeded to the prison’s hanger, where he had the misfortune of attempting to steal a ship belonging to the Huntress.

She confronted him, and when he attacked her, she gave pursuit. However, Harth managed to evade her, and lead her on a fruitless game of cat-and-mouse throughout the hanger. Eventually, the two of them called a truce as each knew that the prison was close to destruction, and that their confrontation would most likely result in both of their deaths if they stayed much longer.

Reluctantly, the Huntress allowed him to escape just as Bane arrived in the hanger. Having realized through the Force that Bane could give purpose to her currently meaningless existence, she pledged herself to Bane. Having been on the lookout for a suitable candidate for apprenticeship, Bane accepted her pledge. The two of them then escaped Doan on the Huntress’s ship, and set a course for Ambria. Zannah later tracked Bane to Ambria , the planet where a decade ago she had vowed to kill him one day.

There, she encountered Bane and the Huntress, who had since been re-christened as Darth Cognus. Unwilling to be denied the position she had been prepared for throughout most of her life, Darth Zannah challenged the Dark Lord to a final duel, which Darth Bane eagerly accepted. Cognus, having been instructed by Bane on the importance of the Rule of Two, promised both not to interfere in the duel and to pledge her allegiance to whomever emerged victorious. The Master and his former apprentice fought as near-equals, but Zannah was outmatched with regard to her lightsaber skills and raw power.

 

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The logos for each Final Fantasy game have a similar style. Starting with Final Fantasy IV , all game logos feature the same basic layout. The older games also received logos in the same style when they were re-released. The font used for the title is Runic MT Condensed.

The logo art for the main series games, and for many spin-offs and sequels, is by Japanese artist Yoshitaka Amano who has been involved with the Final Fantasy series since its start. The games are in development when the logo requests are sent to Amano without much documentation to go by.

Amano then interprets the information available and tries to incorporate it and create an illustration out of it. As the logo art is based around a central concept, not much of the important aspects would drift or change significantly even if the logo is created early in production. Because the title logo is monochrome to a certain degree, Amano illustrates the logo as a standalone piece of art. Rather than receiving visuals, Amano creates the character illustrations from text-based information, like the age and the role they play.

As he is not a character designer, but an illustrator, there are more instances where he has worked off text received from the development team. He has said that anything written in text builds and expands imagination, whereas visual assets to review or look at, would be “the end of it. After Amano has drawn the logo art the actual logo is designed around it by the design team that chooses the color for the logo, among other aspects.

Square Enix likes to reflect colors from the logo art within the key art; for example, the green and blue of the Final Fantasy VII Meteor logo are also reflected in the Mako energy and Lifestream that play crucial roles in the game, and in the tone of its key art.

The logo for the original Final Fantasy shows the title in a simple light blue font with semi-transparent characters.

It was the only time the title was entirely in katakana, rather than primarily English letters with a kana subtitle. The English logo is done in a custom font, slightly bolded, in red. The logo of the re-releases, starting from Final Fantasy Origins for PlayStation , features a Yoshitaka Amano drawing of the Warrior of Light in light blue, a callback to the original Japanese logo’s color.

In Dissidia Final Fantasy , the Warrior’s appearance and pose during his EX Burst mimic this logo’s artwork, and his crystal has a light blue hue identical to the logo’s color. The logo was redesigned again for the Final Fantasy 20th Anniversary version of the game for the PlayStation Portable , still featuring the Warrior of Light, now in a different pose, and has been used since for all media featuring Final Fantasy.

The original logo for Final Fantasy II is done in a colorful italic style: the writing is done in pale-purple fading into bright blue, the edges the letters are rimmed with gold, while the numerals are in a medium-to-light blue.

The whole is styled vaguely in the shape of a dragon, emphasized more by the red reptilian eye incorporated into the first letter. The logo was again redesigned for the 20th Anniversary PSP release, still featuring the Emperor, now in a different pose, and has been used since for all media featuring Final Fantasy II. The pink colors used in the redesigned logos may possibly allude to the Wild Rose Rebellion , the rebel army that Firion and his group join to combat the Palamecian forces, and that several roses in real life take on a dark pink color.

It may also allude to the pink crystal corridors found within Pandaemonium. The pink hues is also used for Firion’s crystal in Dissidia Final Fantasy. The logo for Final Fantasy III features the title in an italic orange font, and three crystal columns in the background.

The letters are styled almost exactly like the previous game, only this time they are all-gold. The logo of the Nintendo DS re-release features a Yoshitaka Amano drawing of an unnamed Warrior of Light holding two swords in greens and blues. The green colors used in the remake logo may refer to the recurring element of wind featured throughout Final Fantasy III. It could also refer to the color scheme of the game’s main antagonist.

The color of the text matches the color of the drawing. The logo marks several things: it adopts what would become the “standard” design of the title logo, with the title in English and a katakana subscript and incorporating a piece of Amano artwork between or near in this case, between the “Final” and “Fantasy. This overall design would become the standard for nearly every release to follow.

The original logo’s color is used for Cecil’s crystal in Dissidia Final Fantasy. The logo of the North American release was done in a gilded style in a typeface similar to the English logo for Final Fantasy , but with somewhat less elaborate Fs though they retain the distinctive tapered tail , narrower Ns and As, and most prominently a T which takes the form of a sword.

The numeral was also changed from “IV” to “II” to avoid continuity issues. The logo for the WonderSwan Color release incorporated a gradient. The Japan-exclusive mobile phone port features a different shade of purple. The Nintendo DS version had a redesigned logo featuring Golbez. The new logo wasn’t a concept that pre-existed from the original. Amano has later described the logo as “cool” and said the designer making the logo based on his illustration did a good job merging them. The Golbez illustration was originally ink art, but the logo designer at Square Enix added red in it.

Amano himself enjoys dark, boss-like characters, and tends to lean toward these types of illustrations. The logo of Final Fantasy V features a Yoshitaka Amano drawing of a wind drake in purple and light blue. The text is a dark blue and the “V” strays from the traditional font style. In Dissidia Final Fantasy , Bartz’s crystal uses the same hues as the logo. The armor and its rider are in black and red, while the text is black, from here on becoming standard for the series.

Amano considers the logo memorable at the time as Terra was one of the first female main characters in the series and the logo is just the silhouette without actual faces and lines; Amano describes early logos in the series as more simplistic that gradually became more illustration-like.

While the box of the SNES release retains the “sword T” that had been used in “II” , Adventure and the Legend releases, the logo in the game itself is instead a “normal” T with a thin, slightly stretched top which touches the N and A, in a manner reminiscent of the T in the first North American Final Fantasy logo.

The smaller stone may be a piece of Materia. The green and blue of the logo set the theme for the color tone for the rest of the game as well, reflected in the Mako energy and Lifestream that play crucial roles in the story. He drew many variations and concepts around the Meteor motif, and in the end wasn’t sure if it was good and thus let the developers choose the final version.

The game marks the point the same logo and numbering was used worldwide. A hint of green is shown at the bottom of the Final Fantasy title font. The title Remake is in black and is added at the bottom, outlined in green as well. Director Tetsuya Nomura had wanted to use the logo from the game for the E3 reveal trailer, but the remake logo hadn’t been completed yet. Nomura wanted to match the atmosphere and had the idea to make it metallic, and the trailer staff made the logo as per Nomura’s wishes.

That logo ended up being used in the final game. This was because Nomura had always wanted to just have the Meteor logo. Back before the original came out the advertising producer at the time had suggested using just the logo for the game case, rationalizing that even without the title, everyone would know it was Final Fantasy VII , and ever since Nomura had wanted to do it.

The logo for Final Fantasy VII Rebirth is almost identical to the Remake logo in coloration, but has the title Rebirth in turquoise and red with a red outline, with the bottom of the Meteor also given a red hue. Who they are depends on which mobile game network the game was downloaded from. The logo is essentially the same as the original, but adds “Reunion” in black lettering outlined in blue beneath. Identical to the main game’s logo, except for the words “Lost Episode” placed between the two lines of the title in gold lettering.

The logo features a stylised “G” with a vehicular pattern within a stencil circle. The red “dash” resembles the edge of the Buster Sword. The Shinra emblem is featured on the bottom left of the logo. The logo features the Buster Sword thrust in the ground and colored turquoise with the handle and edge of the ground red. The two assume the pose in-game during a scene at Sorceress Memorial , which is alluded to in the opening cinematic. The team knew that the Rinoa and Squall scene was going to be a a big moment in the game, so they asked Yoshitaka Amano to draw this for the logo.

The red to yellow gradient reflects the sunset in the background of the moment Rinoa is falling to Squall’s arms in the opening cinematic. The logo of Final Fantasy IX features the crystal from which all life originates in shades of gold. The game number matches the crystal’s color. In Dissidia Final Fantasy , Zidane’s crystal and golden color recall the game’s logo.

The logo of Final Fantasy X features Yuna performing a sending at the Kilika Port in a variety of vibrant shades, reminiscent of the iridescence of pyreflies also crucial for the scene the logo depicts. It is the first to officially bear Amano’s signature, visible in the bottom-right corner. Like Final Fantasy V , the “X” strays from the traditional font style. There also exists a scrapped logo from the Square Millennium Event trailer.

Yuna’s face is seen on the left, facing the beholder, with her right hand raised upwards, and the profile of a large airship in the background. This image is taken from the 25th Anniversary Ultimania. The logo for the HD Remaster is almost identical to the original logo, apart from a bar done in the style of sunlit water beneath the main title, with silver writing superimposed over it. The logo of Final Fantasy X-2 features Yuna, Rikku , and Paine with the reverse color gradient of its predecessor’s namesake.

By coincidence, the scarf of Rikku’s in-game character models have a similar gradient. Amano’s signature is visible just to the right of Paine’s extended leg.

In its center, the light blue logo features five warriors, each representing a playable race in the game. Amano has described the Final Fantasy XI logo as the most challenging illustration because there are so many characters. He used a huge piece of paper to create it, and has described the process as “very tedious.

He assumes this pose once in the game, when met inside Sky Fortress Bahamut. Yoshitaka Amano’s signature is visible just next to Gabranth’s foot in the bottom-left part of the image. During the time Amano created the logo illustration for Final Fantasy XII there was a bit of a distance between his office and the Square Enix office, and he drew up another piece while the Square representative was on the way to pick up the pieces; the one drawn within that hour was the one that ended up being chosen.

Amano used Japanese-style ink that was kind of like watercolor, leaving brush marks that led to the the touch and style of that particular piece. Amano has described the forward-thinking brush effect as something that can only come about spontaneously, and said that logos don’t necessarily come about following the request. It shows off the five Judge Magisters.

The logo was designed by Isamu Kamikokuryo. The crystal pillar is replaced with the outline of Serah’s pendant. For the first time, in lieu of traditional white, the text is outlined in turquoise to match Yoshitaka Amano’s artwork.

The logo design directly influenced the game’s ending, where Cocoon was designed to match the logo art. The text is outlined in color matching the artwork.