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hypogryffin · 5 months

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TELL US ABOUT THE PRINCESS KNIGHT AU PLEASE PLEASE PLEASE PLEASE PL

ok sorry its been like two months but anyways lets talk abt the princess/knight au!!!

haru is a princess, specifically the only heir to king kunikazu. yusuke is sort of a knight, but it's more that he's haru's personal bodyguard!

his mother was a court painter. she was pretty physically weak and fell ill a lot, and after she had yusuke, she realised that, while her and her family were able to live with the royal family for now due to her work, if and when her sickness claims her, her son would no longer be welcome in the castle. since she was all the family yusuke had, that would mean hed likely live the rest of his life on the streets, and as a young child, he wouldnt have the means to make that rest of his life a very long one.

so she made a deal with the king, haru's father, and it was decided he would grow up as harus retainer.

[image ID slash written text for those who cant read my handwriting (😔):

(servant, holding a 1 year old haru in their arms): do you see him, princess? [a shot of a small baby sleeping] his name is yusuke. from now on, his job will be to protect you.

a note next to the drawing of baby haru reads "yusuke is a year younger than haru, as in canon, but it was decided very early on in his life that he would be haru's personal guard!"

a drawing of a young yusuke and haru with another note that says "he began learning how to wield a sword and bow basically as soon as he was physically able, but until he was learned enough to protect haru, he just acted sort of as an escort to her {while a retinue guarded both of them}"

end id.]

its a good thing it was decided so early, too: yusukes mother succumbed to illness before yusuke was even three years old. (he has no memory of her. haru doesnt either, but she DOES remember the funeral that was held.)

(one of the last pieces yusukes mother ever painted was of a young haru holding a baby, a man who would one day become her guard. it became a pretty significant piece for the okumura kingdom for a while, actually: it was used to mean "serve the royal family and it shall serve you, in turn". its hung up on the stairwell into the castle guards' quarters.)

anyway, so yusuke and haru grew up together. they were paired so early on into their lives that neither of them have any memory of a time without each other: for all it matters to them, they were born hand-in-hand with their roles set in place.

they were very close as children, especially before yusuke was considered sufficiently trained in his weapons. it was very common for them to walk around the castle holding hands, and they barely ever separated, only ever doing so for things like sleep or bathing, or lessons-- though the last of those wasnt always true. yusuke would have lessons alongside haru in things like etiquette, of course, but could also be found in the room for things such as history, or her music lessons. likewise, haru would watch yusuke train, though she wasnt allowed to wield a sword or bow herself and could only cheer him on.

(not until they were a bit older, when yusuke taught her how to fight with a sword himself. even then, they used wooden swords, so that haru wouldnt get hurt.)

yusuke was the only boy other than the king himself allowed in harus bedroom, since the only others given access were the handmaids responsible for things like cleaning her room, dressing or bathing her, et cetera. he used to enter as he pleased as such, and only got into the practice of properly knocking and announcing his presence as they got older. hes all-together almost completely stopped actually going into her room, opting instead to stand at her door until she leaves, herself.

as they grew up, they were steadily more and more discouraged from being as physically affectionate as they were as children. yusuke was punished for doing things like holding her hand if they were seen, and was taught to instead be a silent presence to her side or two paces behind her, seen and not heard, the way a "guard" ought to be. at the same time, harus etiquette lessons taught her the necessary decorum to be a princess and one day a queen, and there was no room for a friendship with a retainer, even if it was yusuke. though they care for each other just as much as when they were children, perhaps even more devoted, youd be fair to miss it, since neither of them are able to be open with each other anymore.

(yusukes still slightly more touchy-feely than whats probably expected of a guard. its not really physical affection in the same way, but he'll do things like brush dust or pluck lint off of haru's dresses himself or adjust her hair or jewelry or clothes-- of course, only to make sure her highness looks her best, so its forgiven to the outside observer, but still something technically not of his station.)

haru is a lot different that she was when they were children. proper etiquette is extensive, obviously, and the young girl that was considered the country's daughter, kind and open whenever seen in processions, has long since been stripped for parts. her public face has matured quite a bit by necessity, though her kindness and permanent smile remains-- it's simply that it's more of a part she plays, at this point, any of her natural disposition worn to steel, as a certain amount of control is necessary for a woman of her station.

she doesnt regret the person shes become, even if somewhat conniving-- after all, she needs a certain amount of cunning to keep her head above water in the political scene. or its more that she's not able to regret it, as she's never had any other option than to become as jaded as she is today.

still, it's hard not to yearn for the old days, when they were innocent children. shes not quite aware of it, herself, but she certainly misses yusuke, her friend. its just hard to figure that out when to this day, yusuke, her guard, remains as staunchly by her side as her best friend always has.

when i made the initial drawings for the princess/knight au, i wrote the beginning of a short story of a yusuke pov that i unfortunately must have tossed it because i dont have it anymore, but his character is defined by his devotion. hes never known anything other than being haru's, after all, and considers everything he does a labour of love for her. every moment he spends training is for her, every injury for her sake, every callous a simple, unavoidable byproduct of his servitude. he keeps the posture he learned in his etiquette classes even in private, because erring once is to live with the knowledge of his erring forever, and more than that, risking forming the habit of being anything less than the perfect knight for his lady is something he can't bear the thought of.

luckily, there isnt much danger living in the castle, so yusuke only trains as ardently as he does as precaution for the most part, but there was one incident in which the castle was attacked by royal detractors. haru wasnt actively targeted, being only 8 years old at the time, but there was a spot of trouble where he had to protect her. yusuke, being 7, wasnt fully learned in his swordsmanship yet, and sustained a few scars, including but not limited to one on his eyebrow he hides behind his hair, but considers himself barely harmed, especially considering that that was the incident that took many other castle guards' lives, as well as the life of the queen, haru's mother.

king kunikazu and the kingdom at large is currently pretty uneasy due to a war brewing just a bit away; neither the kingdom nor any of its current allies are being actively threatened, but its one of already many due to one kingdom's ancient rome-esque conquering of a path of smaller countries, and the "okumura" kingdom looks as if it will be on the warpath sooner or later. due to this, the kingdom's engaged with an alliance with a comparatively smaller kingdom that it neighbours. the alliance is going to be officiated with a marriage: haru is kunikazu's only heir, but due to some societal stuff, as a woman she's considered unfit to rule as a monarch. so, she's now to be married with one of the sons of said neighbouring kingdom, who will act as ruler with her at his side:

akira is the son of the king and technically an eligible heir to the kurusu kingdom, but due to his place as the 4th son, he's not a crown prince/not considered to be in line for the throne-- or at least, not to his home nation, as he's now set to be the king of the okumura kingdom.

he seems to be of the same mind as haru: uninterested in her in a romantic sense, but has accepted the marriage for the sake of his country. however, he also seems completely uninterested-- or perhaps actively against-- the prospect of being king, not of his own country and not of the okumura kingdom. it seems that hes grown up acting as more of a free spirit; hes pretty crafty, and has a reputation amongst his own retinue for always managing to sneak off, running away as soon as hes left unattended by his father or instructors, or disappearing overnight (much to the grief and distress of his caretakers), though he's always returned, apparently rather aware of his own limits, or at least capable of getting himself out of whatever trouble he ends up getting into, without drawing the ire of either the common people or his father, the king.

because of his nature, he either sees himself as unfit for king, or merely feels stifled by the idea of the position, and in private talks has disclosed to haru that hed much rather her take her (in his words) rightful place as the queen and head of the nation, and is more than alright with her being the brains/power of the operation, even if in the end it has to be him giving speeches when necessary.

however, while disliking the idea of being a king in general, and also disinterested in haru as anything more than a confidant (having also privately disclosed to her that he does have his eye on someone), he seems attached to the arrangement of this marriage, for “some unknown reason”.

((thats right baby its ALSO a kitashu au get fucked))

akira and haru are officially engaged at the time of the story, and are in the midst of planning for the wedding! they tentatively become friends, since theyre both kind of stuck with each other presumably for the rest of their lives. hes seemingly made a goal to make haru let her guard down, and has even convinced her at some point to sneak out of the castle with him (at a point where he and his father were visiting) to explore the surrounding town without their retinues-- something that gave yusuke specifically about 7 heart attacks, as its something harus never done before.

oh yeah, and by the way, yusuke fucking hates akira.

haru really liked seeing the town without her guards, and without having to put on the air of princess. it was freeing to act as a commoner, and the first time shes been able to strip herself of her etiquette-- something she cant do around anyone in the castle, not even yusuke, at least not to the extent she has to to blend in with the townspeople. she liked it so much that it becomes a regular thing whenever akira is at the castle and not in his own country.

some of harus caretakers have noticed her disappearances, including yusuke, who is at her side in almost every waking moment: he greets her in the morning to escort her to breakfast and brings her to her room at night. when hes not standing at her side, hes guarding the room shes in, and only leaves her when its time for him to turn in for the night, as well. obviously hes noticed this sudden habit of disappearing, and more than that, HES the one who ends up tasked with discouraging harus maids from disclosing this to king kunikazu, since haru isnt aware theyve figured her out, and their social standing disallows them from discussing it with her themselves. haru asked yusuke to keep her and akira's outings a secret from her father when he confronted her after the first time, so its his duty to make sure its a secret.

its not that yusuke resents akira for giving him more work-- hes more than happy to do something as trivial as this for haru, his princess, but its more that this means yusukes forced to be idle while distinctly aware that haru, who hes spent his entire life protecting and caring for, is off somewhere unknown, could be in danger or could be physically harmed, and hes not only none the wiser but also complicit, by allowing her to do this. though he cant ask her to stop, because its clear haru is happier with these momentary escapes. its a miserable position to be in, and he fully blames akira for being the one to put him there

(and resents him for the fact that akira is an outsider and a newcomer. despite this, its clear that hes doing something for haru that yusuke hasnt been able to, not since they started growing up. hes making her happy, and comfortable.

its anxiety over harus safety, and an intense, burning jealousy that hes not really able to identify in the same way)

[text id:

yusuke looking angry as he says "my lady's happiness is of the utmost importance to me. it is for this reason alone that i will allow these escapades to go on, without reporting them to the king or your father." "this marriage will be essential to this country's future, and i have no intention of interfering in your relationship with your fiancée, even considering my role as her loyal servant."

the second drawing reveals him to have cornered akira, seemingly pinning him to a wall, as he continues "however, if i find you to ever, ever put the princess's life in danger, then this country as well as your own be damned, i will strike you down myself, and i swear on my life to make your death ten thousand times as painful as whatever harm you have caused to her highness. do you understand, my lord?"

akira is blushing heavily, knees cowed slightly. he stutters out a "uh. uh-huh" like he's in a trance. an arrow points to him with a note that reads "his gay ass is NOT listening!"

end id]

for some actual story…

during a banquet held in celebration of akira and haru's engagement, king kunikazu suddenly collapsed and lost his life in that room. it was discovered that the cup he was drinking from was poisoned.

no one has any idea who assassinated the king-- it could very well be some of the many citizens that disliked the king's rather strict policies. the taxes are high, and punishment for crimes tend to be much stricter than in other countries. however, a common rumour among many of the townsfolk is that it was the world of the neighbouring kingdom: a ploy to get prince akira in power in order to take over the nation and subsume it as part of the kurusus' country.

regardless of whether or not that has any merit or is simply baseless rumour, the wedding has been temporarily postponed so that the country-- and haru-- may focus on the investigation. akira, at the least, seems more than willing to help. if it really the scheme of his nation, or of his father, he seems both unaware and unwilling to be a part of it, offering every aid he can to haru, even if it ends up only effectively being an open ear.

yusuke remains by her side, as he always had and as he always will-- perhaps a bit more protective of her, somehow, but the entire castle is on edge, so its not as if thats unexpected. as a knight, a simple extension of his lady's will, he cant do much for her to solve her problems, not possessing the intelligence to solve the case of her father's murder, the political knowhow to aide her and her fathers advisor who's acting as regent pro tempore in ruling, nor a magical ability to bring king kunikazu, someone who he had come to see as his own father in some form, himself, back from the land of the dead. still, he is harus humble servant, and devoted to her above all else, and whatever his lady needs, he will do his best to provide.

the story is about the political aspect of haru and akiras ascension to ruling and of trying to find a culprit, but also about the relationship between the three of them: akira getting closer to both of them, and yusuke and haru reconnecting. :)

#asks & requests #yusuharu #...should i tag? other stuff? hrm #p5 #akira kurusu #...i guess.#im not sure if i imagine any pairing as 'endgame' in the actual story #but yusuharu would be certainly the most prominent and i can only imagine thered be a lot of fuel both kitashu & shuharu throughout lol #....so i guess the endgame would be shuharukita? somehow?#if i actually wrote about the story past the setup i KNOW id get way too into worldbuilding and political intrigue #but im appealing this as a yusuharu au so i dont know if anyone would actually care if i went on abt that aspect lmaao #also sorry for putting you in an arranged marriage and also killing your dad again haru. i cant promise it wont happen again #at least this time ur fiance is a stand-up guy!👍#chef recommended #<i think im big brain. for lots of things but for this au specifically i like this one

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stormikins · 2 months

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Mass Effect: Failed Opportunities.

An informal rant essay about my opinions and thoughts (and ideas/suggestions) about the choices made in Mass Effect Three. This is all because of this one post, and my friend (@xoshepard) giving me a compliment about my Shepard came back wrong headcanons. So. I’m fueled by validation and rage. A summary of the mentioned post is anonymous regrets that BioWare didn't explore the implications of Shepard dying and coming back and the fact that Liara helped Cerberus in doing so.

Disclaimer: I am a hater in this. I am. No doubt about it. If you like the story and think it’s great and nothing is wrong with it— then I am so happy for you. Truly. I wish I was the same. So, this post might not be for you. Also, this is a rant, and I try to keep it sensible so apologies if it’s not.

Word Count: 3k

TLDR: BioWare flip flops between decisions and choices and never truly settles, disregards choices already made, and leaves players wanting (AND THEIR MOTHERS!) while eviscerating character personalities. Consistency is not in BioWare’s vocabulary. Or dictionary. Or thesaurus.

One of the things that I dislike the most about BioWare's choices regarding this matter is that Shepard starts having these crisis thoughts/questions about if their body is theirs or not, etc. not only in the third game, but at the end of it. The player is literally doing the mission that marks the point of no return in the end, the last of two until the game is finished, and now Shepard is voicing these thoughts. Roughly sixty-ish hours since the beginning of me2 if the player is a completionist. (not to mention how much more time in between playing bc people have lives but I digress). This isn’t a plot hole, it’s a speed bump the player trips over and then the game expects us to get back and get going while asking why our nose is bleeding. Fuck you BioWare.

Now, one could construe this into being part of Shepard's character; squashing down all these conflicting and worrying thoughts to focus on their mission, bc they are a soldier. They literally don't have time for this. But now they're physically confronted with their reconstruction post-awakening haze and/or denial about it all bc Cerberus could be them lying to Shepard bc of manipulation. All right. If that is supposed to be the implication, Shepard putting their mental focus on their mission, why didn't Shepard have this crisis when they were in lock-up for six months, aka where they literally only have time to think?

James having a throwaway comment to Shepard, or another crew member (bc they talk to each other now between missions!), about how he's worried about them, about how Shepard had a freak out some point in lock down, the level of 'freak out' does not need to be expanded upon. Hell, James can just say maybe they passed the time asking each other philosophical questions, maybe about consent and choices and bodily autonomy. It could help lend more weight with Shepard posing these questions during the Cerberus HQ bc these thoughts are still plaguing Shepard. Shepard dies-again-without getting closure-again. This would fall into the cycle theme that the games have.

But, like always, Bioware fails to capitalize on opportunity.

Now. The Citadel DLC. sighs Shepard's repeated variations of "don't want to talk about it" it being the clone and everything else that's happening in the DLC, lends more to the theory of Shepard's supposed to be repressing this all. But the counter point about Shepard having their crisis in lock-up still stands.

What could have been interesting is if Shepard had these identity issues in 2 and potentially in three and given that the Citadel DLC ends with the clone always dying canonically, it can be a pivotal moment for Shepard to realize that they are who they are, different than their me1 counterpart or not (it also would be cool if characters mentioned if the player was choosing choices that an imported me1 Shepard normally would not have) and to have a clarity moment that they are Shepard. This clone and these logs could have provided a clean tying of loose ends of Shepard having identity issues instead of the teammates saying two lines about how they know that Shepard is Shepard and Shepard simply... moving on bc you do all this in the middle of a base attack. The player's mind is already set on defeating Cerberus (finally) and getting revenge, on being so close to the end of the game! It's also OPTIONAL. Yes, the player is automatically entered into a dialogue wheel but the choice to leave without seeing what's on the logs is immediately available.

Another thing the previous post went into was Liara's involvement. Her part in Shepard's reconstruction is not explored in the game. The player never learns about how Liara helped, just that she did and that she lost Feron because of it all to the Shadow Broker. I will not go into the comics, bc 1. I have not read them and 2. If developers must depend on supplemental media to explain key plot points, they are in fact doing it wrong (this is a conversation for another time).

I would not be as bitter about Liara's involvement if the game treated it better. The player has to complete two quests to unlock the dialogue of Liara telling Shepard that she gave their body to Cerberus. Shepard’s renegade dialogue to Liara apologizing about giving their body over is as follows, “all this time, it wasn’t your sources. You knowingly gave me over to Cerberus. You did this to me!” SHEPARD DOESN’T SAY ANYTHING ELSE. JUST SITS BACK DOWN AND THE RENEGADE RESPONSE TO HER SECOND APOLOGY IS TO SAY, “Let me know if you need any more help,” AND YOU LEAVE. WHY IS THIS THE ONLY TIME SHEPARD ACKNOWLEDGES THIS. wow. AND WHY IS IT LIKE THIS? ITS OPTIONAL. I— Again, this could tie into Shepard bottling up feelings and acknowledging them in Me3, could show Shepard as an actual person is the game lets us choose to be mean or turn her off but alas, the player cannot because the game likes ruining Shepard’s character (which I’ll save that for later).

One could say that Liara would go to any lengths for those she loves, whether the player romanced her or not, but in the first game, we have no indication that she is willing to go this far. I have a belief that nothing is 'out of character' if the circumstances are right. Now, these circumstances are right: two important figures in Liara's life die (Shepard and her mother), Liara's only connection to her theories on the extinction of the reapers dies as well, the threat of the Reapers, and all the traumatic experiences she had during me1 and then the destruction of the Normandy all collide together to make it realistic that Liara wouldn't be able to let Shepard go. There is one thing, though, is that this is all boiled down into “I couldn't let you go” and the game doesn't show it. Doesn’t show Liara's descent down into this rabbit hole, doesn't show the switch getting flipped of her turning much more ruthless compared to her me1 characterization.

She does show ruthlessness in some regards in me1, willing to kill her mother no matter their relationship. But out of all the SR1 cast, she is one of the most paragon characters. The game does not show the shift into Liara's characterization. No commentary from Me1 companions about how Liara suddenly shut them out, or from Feron talking about the things Liara was willing to do to get Shepard. No comments from Miranda and Jacob who I do know were part of the retrieval mission about how Liara acted. Liara is just immediately introduced with quoting her mother’s threats. WHICH IS SO INTERESTING! Again AGAIN the game goes nowhere with this. We get optional dialogue from Aethyta about the Matriarch’s being concerned about her but that is optional, and only if the player talked to her in Me2 does she show up in Me3 and deliver said dialogue. Liara herself never confronts this. Even when SHE TALKS ABOUT HER MOTHER. LISTEN— LIARA COULD HAVE TURNED INTO A SCIENTIST THAT WOULD DO ANYTHING FOR HER RESEARCH. TO PROVE HERSELF RIGHT BECAUSE SHE IS, SHE KNOWS IT AND SHE’LL DO ANYTHING LIKE BRINGING SOMEONE’S DEAD BODY TO A TERRORIST ORGANIZATION TO RESSURECT AND YET—

Garrus, on the other hand, gets his new characterization explained. In me1 he already tends to be reckless, ruthless, and selfish. It is no surprise that when Shepard died and the Council buried the truth, he went vigilante. The game shows his new bleak outlook on life bc we find him fighting for his life in a base full of dead bodies and then he explains he got betrayed. We deal with his character arc. We do not deal with Liara’s.

One could argue that could go and show how Shepard wakes up two years in the future and everything is different and confusing. Which I will agree with. If it was purposeful. And I don’t think it is, personally.

She doesn’t stay this new ruthless way. I am not saying she can’t be more than one-dimensional; I like that she can be soft with Shepard and the other companions. But all of a sudden, she, the character whose introduction in Me3 is her popping a singularity and gunning down two Cerberus goons with a cold look on her face, “can’t be that callous” about not focusing on the death numbers in the middle of a war zone because “that’s my home down there”. A home she rarely talks about, and she’s also been in numerous war zones just as bad as this. Liara, who spent more time in digs or collecting intel than with people, feels a sudden connection with her people.

I would like Liara a lot more if they didn’t eviscerate her character, thank you. Don’t take this the wrong way, I love her, I think she’s great. She just has the potential to be so much more.

Like—

Mass Effect for some reason, tries not to be an RPG. They don't give the players a proper choice/dialogue to allow Shepard to be mad at Liara about what she did. Or to stay mad. (I am not going to get into the debate of whether being mad at Liara should be a renegade option or paragon). It would make sense for someone to get pissed at the person who gave their dead body over to scientists to reanimate, but also terrorist scientists. The same terrorists that Shepard potentially fought in Me1 and also potentially discovered were behind the whole sale slaughter of their entire platoon and the torture of the only other survivor of the incident.

(I can’t remember if Shepard ever mentions Akuze to Cerberus. Funny, isn’t it. How the games like to take away Shepard’s agency but not in any compelling way.)

Besides, simply not choosing paragon options, it’s never mentioned again what Liara did to Shepard, which makes sense if Shepard accepted Liara’s apology. But what if Shepard, and the player, doesn’t? Liara’s forced on the player in Me3 as Shepard potential confidant, showing up repeatedly to Shepard’s cabin to move the plot forward, give Shepard missions/updates. Yes, the player can refuse to get personal with her which I do appreciate it. Like I said, Liara’s actions never get brought up in any meaningful way to help Shepard on a character journey.

Another failed opportunity about Shepard’s character is when the games don’t get into what Shepard is like post-resurrection. The game seems to be in the middle ground of making Shepard different but not still human, but in actuality, they can in the words of Hannah Montana, have “the best of both worlds”.

Me2 shows how Shepard is different now. “I’ve noticed a few upgrades,” Shepard states when talking to the Illusive Man on Minute Man station. Shepard can have multiple hard-hitting drinks in a row along with Ryncol in Dark Star, Zakera Ward. A poison tailored for humans served by a batarian bartender in the lower segment of Afterlife only knocks Shepard out, not killing them like it does to every human before.

That is how far the game will go in showing how different Shepard is, not counting renegade scarring. Which is a waste.

Shepard is The Protagonist. The main character. They have done the actual impossible. They are the Sole Survivor, the Hero of Elysium, the Butcher of Torfan, Savior of the Citadel, repeller of Geth, Collector, and Reaper armies and a host of other incredible achievements. They are a prophet, the damned, a modern-day Cassandra. The tip of the Spear, the Diplomat, the Soldier. Coats in the FOB on Earth says that it means something to the soldiers to see Shepard with them. They are “a tool, an agent with a singular purpose,” TIM calls them. (And a Karen ‘accuse her of classism’).

And yet, when Shepard gets revived—the most impossible of all things (and yes, it’s not like they had anything to do with it, it was Miranda and her team, but the Lazarus project only had one subject)—they are not made further into something larger than life. Something Other. Something that sets them out from the others. Because they’re Commander Fucking Shepard.

They literally have a vision of a dying race in their head that propels them to stop the Reapers. Me1 does a great job of playing with it. The player sees it once in Me2 and Me3, a side mission (Blue Suns: Archaeological Site) and after retrieving Javik, respectively.

Mass effect is all about cycles. The Reaper’s, Saren/Tim parallels, etc. What could have been interesting was instead of the reoccurring dream we have about a child that gets his emotional impact tarnished because of said dream and the star-child, the game does a mesh of the vision, prothean civilization in ruin, and the ruins we see of current civilizations from the missions Shepard goes on. Keep the oily shadows that whisper quotes from our dead teammates, but also have their voices coming from long dead Protheans pleading with Shepard to stop the Reapers, to save them.

Shepard can’t get any escape from the war, from the Reapers in their sleeping nor waking hours.

The game not making Shepard Other and going in the opposite direction—that despite all these upgrades Shepard is still human—would be fine if it was done better. A good stereotype of “I’m only human” is when a character fails. Shepard fails in Me3 most prominently on Thessia. I’m all for having characters fail but only when it’s done not so obnoxiously.

It’s a terrible fight. It is. Kai Leng hides behind a gunship that Shepard took down at least three separate times in Me2. Two of these instances are non-optional (Garrus and Samara’s recruitment, with Kasumi’s loyalty quest being the third). So, Shepard—Commander Shepard who literally destroyed a proto-Reaper—can’t destroy a gunship. It’s insulting how they ruin Shepard’s character in three.

In the end cutscene, Shepard clearly hears and registers that Kai Leng orders the gunship to fire on the supports of the structure and… runs further into the building. One could argue Shepard was trying to get the Prothean VI for the catalyst, but Liara is shown scanning it with her Omni-tool. What did she do, if not copy it? Why would she not? Why wouldn’t Shepard? They’re in the middle of a war zone, with enemies that were just right outside the door. Why stop for a chat here and now? (I know why, the plot demands it and lore dumping— lore that contradicts the lore dump by Vigil in Me1 so I’m even more inclined to not like these proceedings).

Kai Leng is Shepard’s nemesis in Me3 (and I’m forever mad that he is) and he’s supposed to be badass and edgy and able to go toe-to-toe with Shepard. Yet the game shows he can’t. He can’t reach his target because a terminally ill drell stopped him, or he didn’t notice Bau being cloaked in front of the Salarian councilor. (I can also go into how stupid this scene is with BOTH Thane and Bau).

He gets one over Shepard with the C-SEC sky car chase but that doubles back to BioWare ruining Shepard’s character by making them an idiot. Why not hit the brakes? Why not do a couple barrel rolls? Why fire through what should be bullet proof glass because it’s a C-SEC sky car?

Kai Leng can’t go toe-to-toe with Shepard unless Shepard gets dumbed down into an idiot and isn’t someone who reached not only Commander rank but also became the first human spectre. HELLO!?

So, Shepard failing and still being human and fallible doesn’t hit because they execute it poorly via Kai Leng and his stupid plot armor.

Who would be Shepard’s nemesis if not Kai Leng? HARBINGER. YOU KNOW THE REAPER THAT TAUNTED SHEPARD IN ME2? THE VERY FIRST REAPER MADE? THE REAPER THAT WE ONLY SEE—NOT TALK TO—SEE IN THE LAST HOUR OF THE GAME? THAT GUY. (matter of fact, throw in some of Harby’s arrogant lines about Shepard not being able to stop the Reapers in the alternative dream.) Harbinger should have possessed troops like he did in Me2 in the major Reaper battles. Earth. Menae. Thessia. He should have showed up somewhere, boasting about how they’re darkening the sky of every world. YES THAT’S A SOVEREIGN CALL BACK CYCLES! SHEPARD’S VISION IS COMING TRUE RIGHT BEFORE THEIR EYES AND HE’S NOT BRAGGING!? I THINK THE FUCK NOT! If you’re gonna make the Reapers so obsessed with Shepard as shown in Me2 with Harbinger’s comments and making a human looking Reaper, KEEP THE OBSESSION FOR THE LOVE OF GOD! I hate that the Reapers are obsessed with Shepard, Reapers who are above organics, have no weaknesses etc. and the entirety of Sovereign’s brilliant Virmire speech, because it’s not CARRIED OVER!

The enemies should have primarily been the Reapers from the start, and Cerberus the splinter group trying to sabotage the player. Make them smaller. Keep them kidnapping people for troops and biotic tests and lying about Sanctuary being a sanctuary and not run by Cerberus. Continuously have them send assassins—plural! Phantoms and nemesis— after Shepard with Kai Leng at the head of them. Even better if a strike group of baddies show up randomly during missions and watch out! Now Shepard has to deal with them as they fight the Reapers—in the same mission— because Cerberus wants to stop Shepard from killing the Reapers so they could control them and secure human dominance. Kai Leng is kept away from his target because they’re also fighting Shepard where Reapers are. Have them locked into statements until the environment falls apart literally forces them apart. Have them actually be equal adversaries.

Cerberus is introduced to be a mere group Shepard took out in Me1. They’re not all gone in Me2 surprise! Okay that’s fine and yet they not only sunk so many resources into Shepard and had so many cells gone rogue but they’re able to stage a coup on the Citadel! Pardon?? “But our resources are not unlimited, rebuilding you was a significant investment. And a significant risk,” Miranda tells Shepard in Me2. Cerberus kidnapping people on Benning would make sense if they’re scrambling for troops other than the relying on Sanctuary. (EVEN IN ME3 THERE ARE ‘ROGUE FACTIONS’— still a common occurrence for them. It’s never explained if Cerberus is lying about Benning or not). If they have these many rogue cells, again, how can they manage all they do in Me3? Especially if scientists are leaving Cerberus as well, aka the Ex-Cerberus Scientist mission Traynor gives you.

Yet, the player talks more to the Illusive Man than Harbinger in Me3, the leader of the Reapers, and we confront TIM at the end of the game, the most pivotal moment. The moment which people have sunk countless hours into, and we get a power hungry and indoctrinated TIM to… talk into shooting himself or firing a single bullet at him. There is no physical fight between the two. The conversation is similar to Saren’s and again, cycles are a theme, so why can’t we get a Reaper!TIM fight? The player, and Shepard, deserve the choice to fuck him up. This is a military game after all, they’re supposed to be encouraging our aggressive nature.

They ruin TIM but also Shepard.

Shepard never grows and changes like the characters around them, and their resurrection could have—should have—played a part in that. If they’re supposed to remain the same, be a tool for the narrative, make them it. Lean into that. The player chooses options. What would be an interesting mechanic is to make it a struggle for a certain background to get a certain morality. Have Shepard be stating doubts about who they are and if the player is contradicting a stereotypical background (Butcher trying to be paragon, a Hero trying to be renegade), they meet the camera—the players eyes—as they explain their inner turmoil. Make Shepard feel like the tool they are, like they’re not in control of their actions. A renegade overcoming it all and being a paragon hero, or a fall from grace paragon that brings the galaxy down with them. A renegade trapped in a cycle of violence (CYCLE) who can only see the world down the barrel of a gun, or a paragon who continuously chooses kindness. MAKE IT MEAN SOMETHING!

I think I’m done. So.

In conclusion, my love and passion for this game transitions into rage because of seeing possibilities squashed like a bug under a boot. To borrow Star War’s phrase: Mass Effect could be so good if it was good.

#mass effect #yes im putting this in the tag idc #anyways this was fun #im finally dictating my thoughts on ME3 cause it fucking sucks #ive played this game the most out of the entire trilogy and any other game i own

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