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#if I can figure out how to do a proper comic format I may just make it the primary program at this point

smileposting · 2 years

Text

trying to make sense of my 3-year-long special interest in smile for me: a retrospective.

Foreword

jeezus creezus, what a journey this has been! if you’ve been following this blog for the past couple of months, you’ll recall that this was originally supposed to be a video essay - unfortunately, once i hit the video editing stage, it quickly became apparent that this was not feasible with the setup that i currently have now and the timeframe that i was working with. still, i was determined to get this out on may 31st somehow. i originally planned to publish this on another blog and then reblog it here, but most of the hype i’ve generated for this retrospective was generated on this blog, so i figured i might as well cut out the middle man and maybe reupload this on a neocities page some time in the future.

first of all, a quick content warning: this retrospective contains discussions of mental health, suicide, implied homophobia, dental malpractice, and obviously, spoilers for smile for me and its epilogue. also casual profanity. i don’t think anyone who follows me really cares about that last one, though.

secondly, i believe some thanks are in order! thank you to my friends arthur, freddie, gaby, and bri, as well as my wonderful girlfriend clover, for proofreading this back when it was a script! thank you to @coelpts for agreeing to answer a couple questions that ended up having a huge role in influencing how a certain section of this essay played out. and lastly, i thank all of you for giving me the confidence to see this retrospective to the very end, even if it wasn’t in the original format i was aiming for. i may gripe and grumble a lot, but i really do think starting this sideblog was one of the better decisions i’ve made in my adult life. getting to share my thoughts with people has done wonders for my confidence and my willingness to connect with others, even if it’s about a video game.

so. happy third anniversary! some of the stuff i talk about in this retrospective is stuff i’ve mentioned in perhaps less detail on this blog, some of it i think might be new, but i hope you enjoy it regardless. (and i promise there’s proper capitalization under the cut.)

1. The Descent

For a number of reasons, I wasn’t a very happy or well-adjusted kid throughout middle and high school. That’s not to say all of it was miserable, just that between the increasing demands of academia and spending the rest of my time in a semi-dissociative haze only occasionally broken up by whatever comic I was into at any given moment, I didn’t have much time or desire to cultivate a sense of self. It was only when I graduated high school in 2019 that I really began to consider the idea of being a person, not only because I actually had time to do so, but because college kind of demanded that I do so. And it was during the emotionally tumultuous but also enlightening summer of 2019 that I first encountered Smile For Me, the point-and-click debut of independent game studio LimboLane Games, founded by Yugo Limbo and Day Lane.

Smile For Me was released on May 31st, 2019, and on the surface, is a fairly simple game where you play as a flower delivery person visiting a wellness retreat known as the Habitat in the distant year of 1994. You have no known age, gender, or any other defining characteristics, and can only communicate by nodding or shaking your head. As you carry out a series of odd requests from the Habitat’s various residents and employees (collectively known as Habiticians) you learn more about the Habitat’s even more eccentric owner, Dr. Boris Habit - namely, that he is fucking weird. “Makes daily PSAs using a puppet of himself instead of his actual face” weird. "Divulges intimate details of his childhood trauma within minutes of meeting a Habitician" weird. "Cleans rusty machinery with toothbrushes and then gets mad at his employees for not keeping their teeth clean" weird - you get the idea. Eventually, you piece together that Dr. Habit’s master plan lies in the mysterious Big Event, in which he plans to harvest every Habitician’s teeth so he can use them to cheer up the world (somehow) and thus cure himself of his aforementioned childhood trauma forever (somehow.) Of course, it doesn’t really pan out the way he wants it to. With the Habiticians already having been cheered up prior thanks to your interference, they have no reason to stick around, and thus have promptly skedaddled the night prior. You face off with Habit while trying not to succumb to the effects of the laughing gas in the air, he yanks out a few of your teeth while monologuing about how this is for the greater good, then leaves to supposedly find a piece of medical equipment that he needs to finish you off, leaving you to free yourself and finally smack some sense into him, either literally or metaphorically. Depending on what items you use on him (either a punching glove, a kiss, or a lily) you can get a few different endings, but all of them end with him realizing “Oh, shit, this was a really bad idea, actually. Maybe I was just being kind of insane. Sorry about that. You should leave.” You do, and the game ends.

If that ending seems almost absurdly anticlimactic, you wouldn’t be the first to think so, and you most likely won’t be the last, either. Whether this is enough to break the game entirely depends on the individual, but it is by far its most divisive aspect. However, I’m less interested in dissecting other people’s reactions to Smile For Me, and more interested in why I myself became so fixated on it, especially when I can’t shake the impression that I should’ve gotten bored of this game ages ago.

I have to emphasize here that by no means did I go into Smile For Me expecting it to have the ripple effect that it did on the next three years of my life - it wasn’t like I hated the game, but at first, I wasn’t exactly in love with it. There just didn't seem to be enough to fall in love with; I liked the characters, the puzzles, the themes, but I found the pacing to be all over the place, and while I found the story unsettling and sweet in equal measure, its world felt two sizes too small for it.

But then I blinked, and suddenly three years had passed, and in that time I had joined and left like five separate Discord servers for the game, and had written fanfic for it when I hadn’t finished a single piece of prose writing in years, and I had bitched about every fan interpretation under the sun, and I had an entirely new friend group and a girlfriend(?!?!?) that I met through said game before we eventually kinda branched off into doing our own thing. And then when I got burnt out on Smile For Me, it only lasted a couple months before I came crawling back to it on my hands and knees, because fandoms scare me and I needed one that was small enough that I could feasibly scoop up a few friends and shut the rest of it out for my own peace of mind.

Shit, I probably said to myself at some point. This game has had an irreversible impact on my life, hasn’t it? Whether or not I realized the extent of it, I was forever changed by this game, or at least by my fixation on it. My views on relationships, on analysis, on indie media, on myself - before I knew it, all of them had either been shaped by this game or by friends and loved ones I had found through it.

So, why this game of all games? I’m legitimately asking - I’m just hoping that by writing all of this out, I’ll finally understand why, but I have to reiterate that it’s been three years, and I still have yet to come up with a single comprehensive answer that doesn’t make me feel like some kind of insecure womanchild who thinks everything she likes has to be Super Deep or else it’s cringe, so when she likes a goofy cartoon game she needs some way to make it sound like an underrated masterpiece so she can feel justified in continuing to like it. But I really do think this game has a lot of intrigue to it; something that could become really beautiful in future LimboLane works - is still beautiful in Smile For Me, and I’m tired of letting my own insecurities hold me back from explaining where that intrigue comes from. So without further ado, let’s dive in.

2. The Great Divide (Pt. 1)

As basic as it sounds, I think the first thing about Smile For Me that got my attention and kept it there was not only thematic consistency, but the presentation of its themes. Indie games with quirky art styles that are about the importance of mental health and empathy and helping others are about a dime a dozen these days, as are adventure games where the main setting is called something like Happy Fun Time Fun Land but the plot is some shit straight out of Soylent Green meets Black Swan, but I have yet to encounter any other instances where those are the same game. And as it turns out, combining those two premises makes for a pretty effective comedy - one that isn’t afraid to poke fun at its cast of weirdos and their various neuroses, but never puts them down for having those neuroses, and isn’t afraid to be sincere when it counts, either. I won’t act like I don’t think it could have been done better, but I think that duality, if not at the core of Smile For Me’s appeal, is definitely very close to it.

I don’t really see this talked about even among people who are also inexplicably obsessed with Smile For Me, but Dr. Habit kinda sucks at being a villain. Not in the sense that he struggles with being antagonistic towards the player - he spends most of the game antagonizing you - but in the sense that he sucks at being the kind of villain he wants to be. He tries to project the image of this demented Willy Wonka-esque cult leader; unknowable, untouchable, invulnerable, but hardly anybody seems to be buying it, at least not in the sense of “demented = powerful”. Boris Habit as a person is an emotionally driven, insecure wreck, one who’s constantly getting sidelined by his own paranoia and projection onto others, and this divide is felt everywhere in how the Habitat is structured. Everything about the Habitat as an actual location feels like a subconscious cry for help, from the haphazard fever dream architecture full of machinery that looks like it’s going to fall apart if you look at it cross-eyed, to the eerie self-portraits and PSAs, to the crumpled-up diary pages, to the secret area displaying a wall-to-wall recreation of Habit’s own childhood abuse, to the fact that the plans for the Big Event itself has more holes than a fine swiss cheese and straight up can’t happen at all until you manually trigger it. There’s something cruelly ironic, almost comical, about the fact that Habit is willing to go to these lengths to signal that he’s unwell, but unlike the Habiticians, he isn’t willing to actually work with people to get better, at least not until the game’s conclusion.

Speaking of divides, there’s a line somewhere in the game where Dr. Habit tells the player that you remind him of his younger self, and he hates that about you. At first, I thought this was just window dressing that the devs tacked on at the last minute to make his character look deeper than it actually is, but upon rewatching, I realized that this perceived dichotomy between you as the player and him as the antagonist is actually kind of the crux of how the game’s story unfolds. Think of what little information you're given about yourself within the context of Smile For Me: you’re a florist, everybody either likes you from the get-go or warms up to you eventually, and most importantly, you know how to make people happy even when your environment not only doesn’t make it easy, but is actively working against you. You are everything Dr. Habit wanted to be when he was younger - everything he still wants to be, right down to the florist bit - but feels he can never become because as far as he’s concerned, it’s too late for him. You aren’t weighed down by the ghosts of an abusive past like he is; in fact, as far as he knows, you barely even have a past. Or any other defining characteristics for that matter - you can’t even talk. Your presence in the game is defined solely by the impact you have on other characters. You’re a nobody, and to Habit, that means that unlike him, you can be anybody. Is it any wonder that he feels so threatened by you? Is it any wonder that the Lily ending is about him realizing that he has options outside of being a Big Bad Evil Guy? That he’s not too broken to become a good person, however abrupt that realization may have been?

I don’t know if this is a popular interpretation of the game, but it doesn’t exactly feel like a hot take to suggest that Smile For Me isn’t meant to be read 100% literally, and is instead at its strongest when read as an exploration of the downward spiral following and/or leading up to a mental health crisis, and how one chooses to resolve it. So, if the Lily ending is meant to represent the gap between Habit and the player - the dysfunctional but undeniably real self and the wonderful but painfully intangible ideal self - finally beginning to close, what do the other endings represent?

I think the Kiss ending, especially since it’s outright acknowledged as an anticlimax and you are explicitly warned to leave before Habit changes his mind, is meant to reflect no ending at all. Sometimes, when you’re at a low point in your life and you’ve pushed away pretty much anyone who might be capable or at least interested in helping you, you don’t always stumble across a life-changing epiphany that makes you realize you’ve been doing everything wrong and from this moment onward you’ll try to become the person you’ve always wanted to be but gave up on for some reason. Sometimes you just think to yourself, “Wow. I’m kind of an asshole.” And then nothing else really happens, because you don’t know how to stop being an asshole and you were never given the tools to figure it out. This is more likely to happen several times over until you finally have enough experience to have that aforementioned epiphany and at least try to start getting your shit together.

As for the Punch ending, considering it’s the only ending in which you can actually kill Habit by punching him off a balcony, and he immediately accepts death the first time you punch him to the point of actually getting a little frustrated if you hesitate long enough - with this reading in mind, it’s difficult for me to not read this scene as at least a symbolic suicide, and even then, with very big air quotes around “symbolic.” I don’t really care to dwell on this for longer than I have to, lest I run the risk of overdramatizing what is otherwise a very quietly tragic moment in-game and trivializing some deeply painful subject matter in any context, so let’s move on. I’ve seen a few people say they prefer the Kiss ending because it feels more realistic, or more rarely, the Punch ending because why should we have to be nice to someone who pulled some of our teeth out for his stupid mad scientist scheme that he’s literally too mentally ill to carry out anyway. But now that I’m looking at all three endings laid out like this, I’m kind of shocked at how well they work in conjunction with each other - even moreso after finding out that some of it wasn’t even intentional. According to episode 91.2 of the indie(Radio); podcast by indie(Function);, the Kiss ending was a last minute addition compared to the other two endings, because playtesters apparently really wanted to know what would happen if you kissed Habit. Without that knowledge, though, I would’ve thought it was part of the plan from day one because it’s such a perfect midpoint between the Punch ending and the Lily ending. The only wrench in that reading is that I haven’t actually seen anyone play the game in anything resembling a Punch-Kiss-Lily order? Most playthroughs just go for a completionist run from the get-go and thus ending up getting the Lily ending on the first try. Speaking of lilies, though:

2.5. Are You Guys LGBT Or Something?

At the risk of coming across as redundant, Smile For Me has a lot of queer shit in it.

It’s never super overt in the base game - you can tell the devs were still trying to figure out just how much they could get away with - but it’s still just enough to be noteworthy. It’s also a lot more blatant in supplementary material like the Steam trading cards and the anniversary epilogue. By no means is this the result of creators wanting the praise that comes with daring to include queer characters without having to actually follow through on it, either. Both of LimboLane’s founders either have been openly LGBT+ before the game’s release or have since come out as such. As for how this relates to the cast of Smile For Me, and in particular, Dr. Habit - like many other aspects of his character, it’s complicated. There apparently was a Team Egg Troop stream in which they talked about being fans of the idea that Habit could be trans, but from what I hear it was in a very “you can interpret him or any other character however you want and there’s technically nothing in canon that can stop you, wink wink nudge nudge” way, and the stream itself has since been privated on YouTube so I can’t even go back to hear exactly what they said. It’s not a huge loss, but I knew if I didn’t mention it, it would bug the shit out of me forever, so there you go. Regardless of the stream’s legitimacy in canon, there is indeed an abundance of subtext pointing to the idea that This Dentist Is Not Cishet, to the point where people can and have made readings of Smile For Me as an inherently queer narrative. I’m not just bringing this up as a non-sequitur, either; I think it adds a lot to Habit’s characterization as someone struggling to accept the fact that as long as he exists as himself, the world that he’s trying to be a part of will always reject him, and also that by trying to conform to that world’s desires anyway, he has become a more miserable person.

Probably the most blatant evidence of this in the actual game itself is in that aforementioned recreation of Habit’s own childhood abuse (aptly called the Trauma Room), in particular a memory of Habit as a child being beaten for doting on his favorite flower, a lily. Said lily is always referred to with he/him pronouns in Habit's letters, and when I say that he was caught doting on it, I mean that he was kissing it. In his final conversation with the player, he talks about being pressured by his family to abandon his interest in flowers for a more profitable - and more importantly, socially acceptable - career in medicine. He specifically uses the phrasing "I thought I destroyed all those seeds. Squashed them flat and buried them deep, deep where they wouldn't resurface," which seems almost deliberately chosen to invoke the idea of some kind of forced repression. There's also whatever's going on with Martha; the one we know in-game is a piece of machinery built by Habit, but it was named after a high school classmate whom we know next to nothing about. But whenever Habit talks about Martha the machine, this mascot, this thing that he runs himself ragged trying to keep looking presentable, he refers to it the same way one would refer to a girlfriend or a wife, almost like he's trying to prove something. But unlike his other creations like the Carnival Attendants or the Cowboy Bed, there’s nothing to suggest that Martha the machine is even alive. In general, a lot of the grief Habit causes for both himself and others seems to come from his attempts at embodying his idea of what a Traditionally Successful Man looks like (or perhaps what other people have told him it looks like) and his ensuing frustration with the fact that for Whatever Reason, he never seems to be able to get it quite right, nor does he ever stop to think that maybe he can just chill out and not do that if it’s not giving him any personal fulfillment, at least not until the ending rolls around.

[Image ID: A tweet from @DrHabit that simply reads “Gay”. I still don’t know if this counts as confirmation.]

I think it’s important to note, though, that this is never used to make Habit look more “deviant” than he would have otherwise, nor is he the only queer character in the game (not to mention that nearly every other character who falls under that umbrella is a lot more explicit about it than him.) In fact, it’s easier to argue that this side of Habit is tied more closely to his yearning for a sense of belonging and normalcy. I don’t think it’s a coincidence that the only character besides A Literal Flower with whom Habit has any kind of romantic subtext, albeit mostly in supplementary material, is not only a man, but one who appears to be one of the most normal characters in the game. Kamal Bora doesn’t have a technicolor skin tone, or a name that sounds like you put two stereotypical rural American names in a blender, or a job that’s totally out of place for a supposedly professionally-run wellness retreat, and actually, why don’t we talk more about Kamal?

3. Kamal Gets His Own Section And I Refuse To Apologize For This

No, really, why don't we talk more about Kamal? He's decently popular among fans, and there's certainly much talk about his relationships with other characters, namely Dr. Habit, but until recently, it was hard to find nearly as much discussion about the man himself. "What else is there to say?" you might argue, to which I would reply that as a matter of fact, there's a lot to say, and also that you should go to hell. Because not only is there more to say about Kamal and his role in the thematic narrative that Smile For Me weaves, he is one of the most fascinating supporting characters in the game, period.

Kamal Bora is first introduced to us as Dr. Habit’s former assistant, having exiled himself to the terrace to get some time away from his ex-boss and/or stew in his own personal failings, and definitely not also because he’s afraid of stairwells. His anxious exterior belies a surprisingly snarky and observant personality, and thus establishes a core tenet of Kamal’s characterization in the game: that he is constantly at odds with himself. Kamal’s feelings are complicated and don’t always make sense, least of all to Kamal. Whenever he talks about other people - especially Dr. Habit - he tends to flip-flop between apprehension, exasperation, and begrudging but genuine concern, sometimes within the same sentence. You get the idea that this is someone who is intimately aware of how much of a fucking disaster Habit is as a person, but has long since reached his limit when it comes to trying to accommodate for him, and justifiably so. One of Habit’s many failings as the cartoon supervillain that he tries to be is that he is an absolute dogshit boss, with an extensive list of nonsensical demands for his employees but absolutely no interest in doing anything that would garner the respect necessary for them to carry those demands out, except for maybe providing them with a decent salary. No matter how concerned someone may be for their employer’s mental health, any reasonable person would eventually decide that enough is enough, and that’s before getting into the planned dental malpractice.

But, as mentioned earlier, this section is not about Habit’s side of the story. If Habit and the player are two sides of the same coin, in the sense that they are essentially the same person on two very different walks of life, then I think Kamal wound up being Habit’s inverse. What I mean by that is that in direct contrast to Habit, who seems to want to help other people but doesn’t want to put in the effort of understanding their specific needs, because that could mean getting vulnerable, and he can’t have that, Kamal seems to find most people to be a nuisance but still constantly goes out of his way to look out for them, albeit in odd or indirect ways. He reassures the player, if they tell him they’re nervous about facing off with Habit. He tells them to be gentle with the janitor Wallus, because they’re friends and he knows how sensitive he is. He’s the one who sets up the reunion in the epilogue (which we’ll talk about in more detail later) and is usually the one who prompts the more sentimental messages from the other characters. And even with his resentment towards his ex-boss, Kamal’s ultimate goal in the game is not to get revenge, but to get said ex-boss help before worse comes to worst, since he knows that he’s in no condition to provide it himself. Kamal gets people, more than he seems to realize - he thinks they’re strange, infuriating, and even scary, but none of those feelings stem from him being unwilling to understand them. It just so happens that as we see him in Smile For Me, he is very much out of his depth, and he knows it.

There’s something else about Kamal that I want to talk about, though. Something more… out of bounds, if you will.

You see, Kamal is one of the most adamant about stopping Dr. Habit before he gets either someone else or himself hurt, and is definitely wary of what he might be capable of, but he rarely seems to fear for his own safety, just that of the other Habiticians, as though somehow the possibility that he could get hurt rarely crosses his mind - and indeed, he can’t. He’s among the 11 Habiticians that are absolutely necessary to cheer up in order to progress the game. One of the only times he seems to even consider the idea of it is in the Punch ending, when Habit is already dead. And speaking of endings, he’s also weirdly casual about you killing Habit in the Punch ending - Habit, the guy that Kamal insisted we try to talk things out peacefully with, and he barely bats an eye at his death/implied suicide by cop. And in the Lily Ending, where we actually do (kind of) talk things out with Habit, Kamal is nowhere to be found. Why? Was it to emphasize the parallels between the player and Habit by making it so that they’re the only two characters left? Were the devs just that pressed for time or didn’t think it through all the way? And take a look at some of his dialogue - “Don’t breathe in too deeply tomorrow,” he says when we decide we’re ready to confront Habit, when no other character thus far has ever brought up the possibility of Habit involving laughing gas in his plans. “I think we were too late this time,” he bemoans when we tell him we don’t think things couldn’t have resolved any other way in the Punch ending. “Maybe next time’s the charm,” he sighs in the Kiss ending, and yeah, I’m dragging this out way longer than I need to - my point is that it is really, really tempting to think that Kamal is maybe about 60% aware that he’s an exposition NPC who’s there to encourage you to find other endings until you get to the Lily ending.

I say it’s tempting to think that and not that it’s what the game implies, because while I have seen people talk about these particular lines, I’ve never seen the fanbase come to a true conclusion on whether or not this was meant to be intentional or anything more than a throwaway gag. And even then, Kamal’s status as the only character to even lean on the fourth wall gets dropped in the epilogue, when everybody starts doing it. Still, it’s interesting - and if I’m being honest, pretty funny - how much of Kamal’s behavior is recontextualized through this reading. There’s something oddly endearing about a self-aware video game character who, instead of falling into existential depression or going murder crazy, just kinda shrugs their shoulders and says “Okay, so? Don’t you think I have enough to worry about already? I don’t have time to dwell in the existential dread of whether or not I’m real to God, because real or not, this shit still affects me.”

Even if none of this is really intentional and I’ve gone fully into Pepe Silvia territory, I still stand by the idea that Kamal is a way more compelling character than a lot of people give him credit for. Something about his general attitude of “Is this entire situation, objectively speaking, really dumb and undignified? Yes. Am I above that? Not even a little bit. Am I still wholeheartedly invested in making sure that everyone comes out of this bullshit relatively okay? Unfortunately, yes,” really resonates with me - it’s the anthem of every debilitatingly self-aware nerd who knows that they sound completely unhinged to anyone who isn’t in the know, but also knows that isn’t going to be enough to deter them, and it’s the position I found myself in with regards to this game by the time I had gotten to the terrace. Kamal’s apparent lack of proactivity in the base game feels less like a contractual obligation by way of being an NPC, and more like an implicit dilemma of how much self-awareness is too much self-awareness; at what point does someone become so aware of every minute possibility that it becomes more of a hindrance than a help and they just shut down, unable to really do anything until someone with a more linear point of view comes by to help them?

And like, look - I don’t fault people for getting invested in Kamal’s relationships with other characters, nor will I act like enjoying a ship and making genuinely insightful observations of the dynamic between two characters is mutually exclusive. When it comes to the Habitat’s staff in particular, there was clearly meant to be some intrigue there, a lot of which goes unanswered by both the game and the epilogue. Like, how close were Habit and Kamal before Habit’s condition began to deteriorate faster than Kamal could keep up with? How did whatever relationship they have begin to recover from that in time for the epilogue? Was Wallus quitting to go hide in the walls of the boiler room a deciding factor in Kamal quitting? Wallus did say they were planning to quit together, after all. And for that matter, how close were he and Wallus? How did the rest of the staff respond to these conflicts, if they knew about them at all? It’s legitimately very fascinating to think about! But I sometimes fear that approaching those questions purely from the angle of whatever is the most “shippable” runs the risk of doing a pretty huge disservice to the characters involved.

TL;DR: Kamal is a really good character. A great one, even. And to end this section on a high note, I’m going to share maybe one of my favorite facts about him, which is that not only is he not considered a Tumblr Sexyman despite his popularity, but in fact the Sexypedia Wiki has effectively banned him from ever being considered as such by placing him on their list of forbidden characters, an act that is either akin to defamation of character or being placed in witness protection, depending on how you look at things.

[Image ID: A photo of Kamal Bora, followed by his name and the title of the game he’s from. Kamal Bora is a South Asian man with wavy chin-length hair, a rectangular head, and a near-constant expression of vague discomfort. The reason given for his being on this list is as follows: “Because, let’s be real, some of these aren’t sexymen. They’re just your favorite characters you wanted to slap the label onto.”]

4. The Great Divide (Pt. 2)

Now, if you’ve gotten this far into the essay and you’re familiar with the game at all, you might have the question, “Hey, so, I played/watched the game, and I liked it, but what if I don’t really give a shit about any of this? What if my favorite character is the vampire dad, or the regular dad, or their respective bastard children, or that thing in the stairwell who really, really wants you to dump some pickle juice on him?” Which, in case I haven’t made it clear, is a totally valid reason to enjoy the game; there’s a reason that most players ended up doing a completionist run on their first try. The Habitat may be structured around Boris Habit’s psyche, but the game itself would be nothing without the Habiticians to breathe life into it. I’ve used the word “weird” to describe several things in this essay by now, but seriously - the Habiticians are just so weird, and I mean that in the most positive way imaginable. There’s something so effortless and more importantly, shameless about the way they’re written; more often than not, they’re simple folks with simple desires, but they believe in those desires with such conviction you can’t help but be convinced that there’s something deeper to it, and it makes you want to help fulfill them just so you can get one step closer to understanding whatever that something is. Long before I cared or even knew what Habit’s deal was, I was gushing over Nat admitting she still loved her dad and feeling oddly proud of Dallas’ character development over the course of the game and making note of each character’s relationships to each other in case they came into play somehow - which they do, in a sense.

Should you fail to cheer up a Habitician before triggering the climax of the game, they will appear during the Big Event - not as the characters we have come to know over the course of the game, but as eerie, collaged object head versions of themselves, delirious and only able to be considered ‘happy” by way of forgetting what they were initially upset about. It’s unclear if these collaged forms are real or only a gas-induced hallucination, nor is it clear what happens to them once the credits roll. Getting an 11/22 ending, in which you only help Habiticians that are absolutely necessary to progress the game without any regard for which ending you might get, involves splitting up several positive relationships that can develop or existed prior to the events of the game - both parent-child relationships, both potential romances, both past romances, and so on. This is another way the game tries to incentivize you to complete as many quest lines as you can, and in order to communicate how effective these methods are, and in turn how easy it was for people to fall in love with these characters, I’m going to share a piece of information that I learned just as I had begun writing this section of the retrospective:

You don’t need to do a completionist run - ever. It is possible to achieve the Lily ending with only 13 out of 22 Habiticians cheered up - only two off from a Punch ending.

I first stumbled across this thanks to a post by Tumblr user coelpts, who pointed out that there are exactly five Habiticians who don’t give you any reward for completing their quests (among other very concerning statistics) but didn’t seem to have posted any follow ups confirming whether or not this meant they were really optional. And when I saw it, I didn’t really know how to feel. It just felt like such a major oversight, especially for a game that I had previously praised for keeping its themes strong and consistent. In a game that’s about the importance of helping others, why wouldn’t you make it so that the best ending can only be unlocked by helping everyone? For a while, I wondered if I should even bother completing this retrospective at all. I already knew the game wasn’t perfect, but this was the only time in recent memory that I could remember being scared that this would ruin every point I was trying to make about it being good.

But then I messaged him, curious to see if he ever went through with trying to test this theory, and he said:

“I WANT to say that I did [...] but I just documented it in a Discord server that I did rather than a tumblr post. I DISTINCTLY remember watching the ending slideshow with a 13/22 Lily ending and remembering it being just Extremely Cursed because so many were missing but Habit wasn’t.”

It was the choice to use the word “cursed” that piqued my interest - and as he went into more detail during our (admittedly brief) conversation, even replaying the game just to confirm that it was possible, he kept saying similar things. That it was “eerie,” “utterly surreal” - that it just felt wrong. And I felt it, too. Before this conversation, I was even kind of hoping it wasn’t true, because even considering the possibility of it felt like a sin. It certainly hasn’t been acknowledged in any supplementary canon material. And the more I dwelled on this, the more I started to feel like there was something strangely fitting about it.

Before uncovering this information, my outlook on Smile For Me’s story looked something like this: Broadly speaking, there are two concrete sides that run parallel to each other. If Side A is a game about meeting a quirky ensemble cast of ragtag misfits with not particularly deep but certainly very memorable issues, then Side B is a game about learning all about one person’s psychological trauma, how everything in the setting was built to remind himself of it day after day after day, and what he chooses to do with it. And for a long time, my one greatest criticism of the game was that I wish there had been more to tie these two halves together, to bridge the gap between them, so that the final act of the game felt a little less abrupt and people would have more reason to care about whether or not everyone gets their shit together, Habit included.

But what if this is the game’s way of uniting those two halves? Trying to fulfill one while neglecting the other results in an ending that feels hollow and disingenuous; of course it does. Focusing on Habit’s happiness exclusively and only cheering up as many people as you need to in order to ensure it feels just as wrong as cheering up all 22 Habiticians only to punch Habit off the balcony at the end, if not even moreso. It makes the relationship between Side A and Side B feel less like two storylines just existing in the same space and more like a symbiotic relationship, one that needs an equal amount of attention on both ends to feel complete. Even the Punch ending feels more likely to result from a player who just isn’t particularly invested in either side of the story. And again, there’s that idea of being presented with some kind of divide to mend.

So, does that ever culminate in anything? Do we actually get to see what happens after we mend the divide - between the ideal and the real self, between what’s real to us and what’s real to others, between Side A and Side B?

5. The Epilogue (Of the Game)

Smile For Today is a free browser-based interactive epilogue released on May 31st, 2020, a full year after the release of Smile For Me. It was created primarily to celebrate the game’s one-year anniversary and its overwhelmingly positive reception, being a showcase for fanart, fanzines, and let’s plays that boosted its popularity. I really like how they chose to canonize these, by the way; a zine is now a memoir, a let’s play is a dramatic retelling, fan-made characters are people that the player’s met since their time in the Habitat, Habit’s Twitter fans are - well, those are just Twitter fans. As far as I can tell, the continuity of the official Dr Habit Twitter is whatever Day Lane feels like it is that day.

This isn’t to say there isn’t any closure for the characters themselves; the in-universe justification for the epilogue is that it’s a virtual reunion set up by Kamal exactly one year after the events of the game so that the Habiticians can catch up with one another. And they’re doing really well! Characters who were more closed off in-game are more than willing to interact with others here, relationships that were emotionally strained or just beginning in the base game have blossomed into something really beautiful here. That photographer who spent most of the game scheduling meetings with herself to avoid conversation? She talks to people now - willingly! Two other characters who were exes in the game are now going on tour together as friends. This macho sitcom dad encourages his son to be open about his emotions for once. Kamal readily takes charge of the situation, being the one who organized it in the first place, and his relationship with Habit seems a lot more equal and mutually supportive. Habit comes out of hiding to apologize, but doesn’t overstay his welcome, and he’s finally got a gig as a florist. Everyone’s doing really, really well - and they’d love to know how you’re doing, too.

Where Smile For Me was a story about providing some sort of support for a cast of odd but generally well-intentioned randos, Smile For Today is about those same randos paying that kindness back and being there for you. In return for giving them an outlet to voice their wants, their needs, their insecurities, they make sure that you know that your kindness, however small it was, was not in vain. You watch them thrive and congregate amongst themselves for most of the epilogue, no longer needing you to act as a proxy for them. They acknowledge the new experiences you’ve created since your time at the Habitat and the hand they might have had in them, but make it clear that it was always up to you. They play you a song, because words can’t do justice for how much you’ve helped them. The final message is left entirely up to you to write, because after spending so long as a silent, endlessly selfless benefactor, it’s only right that you get to express your desires for once.

[Image ID: A message from Tiff Webber, which reads “We wrote you a song. Sure, that’s cheesy, but sometimes you need to be a little cheesy to be sincere, don’t you think? Give it a listen. Please?” followed by a link to the song itself.]

That line right there is the heart of Smile For Me as a whole, the linchpin of its appeal. It’s strange and goofy and at times, corny and cliche’d, but fuck, at least it’s honest about it. I’d much rather have this version of Smile For Me instead of a game that constantly apologizes for itself by winking and nodding at the player in a desperate attempt to convince you that it’s not like other quirky indie games about mental health - it’s self aware. Smile For Me knows what it is, and isn’t afraid to just exist as itself for anyone who might want or need it.

There’s no telling what will happen to you or the Habiticians when this reunion ends. They probably won’t resort to crackpot supervillainy, but nothing truly lasts forever. What happened in the Habitat probably wasn’t the first roadblock the majority of them have ever faced, nor will it be the last, and the same can be said for you. But with the right support systems, you can weather that storm, and moments like these are what make it worth weathering to begin with. Right now, in this moment, you’re okay. All of you are okay. Sometimes, that’s all you can really ask for.

6. Conclusion (The Actual Epilogue)

So, is Smile For Me a good game? …Eh.

Obviously, I don’t mean to say it was actually horrible all along - I just made a whole retrospective talking about why I like it. But even now, with the impact it’s had on me and so many others, I can admit that I still find some parts of it lacking; sometimes the original game doesn’t seem to know if it wants a blank slate protagonist or someone with a pre-existing role and relationships to the characters (though the epilogue makes it clear it’s at least intended to be the former) Habit's redemption happens way too suddenly to really feel rewarding if you're not actively hoping for it, and yeah, I think the Lily ending would have been stronger if you actually were required to help everyone in order to achieve it. It just feels like there should be more here.

But here's the thing: assessing Smile For Me based solely on the premise of "objectively good" or "objectively bad," in my opinion, would have made for an incredibly boring essay. I think it's far more eye-opening to look at Smile For Me as "ground zero" in the eventual larger body of LimboLane's work. It feels very much a test drive, one that heavily prioritizes thematic resonance over concrete, real-world logic; a way to see what they were capable of on a base level before honing their specific skills in future works. To crib another line from the epilogue:

“It's just a demo... but everything starts that way, doesn't it? Maybe someday it'll be a full fledged production, with a 10-part band and a trio of vocalists. A fancy illustration and a dozen remixes.”

And whenever a work that I like has that quality - that sense of urgency to say whatever it needs to say as loudly or as effectively as it can, coherency be damned, because its creators don't know when they'll have the chance do it again - I can’t help but be drawn to it even more, not only because I find it compelling, but also because I find it freeing. I’ve struggled with anxiety issues and perfectionism for almost as long as I can remember. I still struggle a lot with opening up about my hobbies and interests in real life, because the fear that I might be misunderstood usually speaks louder than my desire to find common ground with other people. But the idea that even if the reception is mixed, even if I end up holding back or saying too much, there will be someone out there with whom my work resonates and who will want to see more, is what keeps me going. And if I was able to convey even a fraction of how instrumental Smile For Me was in letting myself be comfortable with that realization, then I’m happy.

I’m really, really happy.

#smile for me #smile for me game #s4m #retrospective #my writing

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philcoulsonismyhero · 1 month

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@squireofgeekdom tagged me in a 'share the titles of your WIPs and let people ask you about them' meme, and I was actually thinking about doing something like that anyway with the various original comics ideas I've got going at the moment, so I'm bending the rules slightly and giving you a little bit more than just the titles:

No Place For A Doctor - a short (24 pages) backstory comic for my beloved old DnD character Sam Harnendil, featuring his days as a conscripted army surgeon and how he accidentally got cleric powers from yelling at a god for not doing her job. This is the one I'm currently thumbnailing, which is exciting, because it's starting to resemble an actual comic

The Woodsman And The Wolf - a queerplatonic fairytale-ish thing about a woodsman and the injured traveller he finds in the woods one day who, spoilers but not really, turns out to be a werewolf. It's a story about monsters and what makes one and I'm very attached to it, and I'm currently at the stage of turning a pretty thorough outline into something resembling a script

Untitled space hero thing - a shorter thing, hopefully, that came about from bouncing some of my favourite mentor-mentee relationship tropes off of Captain Marvel. The space-disaster equivalent of a firefighter crash lands on Earth and ends up teaming up with an engineering student in order to save the planet and maybe herself in the process. Still needs the plot properly outlined after a certain point, but it's got Themes already (grief, mostly, and new beginnings and letting people back in)

Red Shift Blue Shift - beloved long-in-development sci-fi webcomic project with @yourfriendlyneighborhoodenby, which you can find a bunch more about over on the blog we made for the project @redshiftblueshiftcomic. We've got a bunch of short character backstory comics at various stages of figuring out that I really want to actually make this year, as well as finally getting together a proper script for Chapter 1, which is about saving a sentient generation ship from unscrupulous scavengers

Untitled gay detective thriller - this one spontaneously manifested in my brain the other day in the format of a movie, but I can't make those so now it's a comic I guess. It's a serial killer investigation starring a police detective who used to be a spy, whose life gets increasingly complicated as he starts to suspect the killer is someone from his past, who may even be trying to frame Our Hero for the murders... Also he's gay, because action-y crime thriller heroes so rarely are, and his partner is a forensic pathologist working on the same case. Still just broad strokes for now, but getting places, and something of an exercise in writing something that fits into quite a specific genre But Gay This Time

I'm very much in the mood for talking about any and all of these, so send me a title and I'll tell you a bit more about that one! (Or ask specific questions if you've got them, that's also good!) You might also get some character design doodles or panel thumbnails for some of them...

#personal stuff #comics stuff #wip game

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pentition · 1 year

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ooooogod

I finally found you

I am a loyal fan of Pen, now I can't stop thinking about him. MTAS is a very nice, As a Chinese I am happy to see the success of domestic games,

,I even want to put his new design into my final exhibition as a regular exercise (is this allowed? Will it not infringe?)

I used the character drawings for this game as a prototype reference, as an exercise in conceptual design,

It sounds strange

This has no commercial purpose whatsoever, just for practice,,,

All my previous attempts to inquire about is or not infringement have been met with silence

It sounds stupid, but it's hard to find a super tuff Asian character,

In a successful game project

Have Chinese name format

I know this is a selfish behavior, but I have drawn it almost,

it does not matter if it is not allow ,

I'll treat it like regular fanart

Sorry for the delay! I was out of the house all day and mobile is a nightmare for replying on.

Finally found me? From where? This is the first time I've really done much engaging with the fandom, I just lurked before I made this blog on all the cool stuff people did. Unless I'm misunderstanding. ^^;

Please let me know if I misinterpret anything!

Hello though loyal fan of Pen! Welcome to the blog. I love chatting Pen here so feel free to join me on the subject of the beefcake. :) Or whatever in general. I like my blogs to be a safe place for people.

I'm not sure what you mean by final exhibition? Is this some kind of portfolio for your art? I'm not really an expert on this subject, especially outside of America. I do a decent chunk of work with story development and character design (tasty editor work) but the specifics of the art world I'm not much of an expert in. So I can only draw on what I know based on friends and professional artists I've known in life. I can try and help point you in some directions if I can know more.

As of now, I know over here what is allowed to be submitted for projects or portfolios can change between type of art or even the people you're submitting to. Like with comic books, for instance. If you're a comic book artist and share your work with experts in that industry, it's not at all unexpected for people to submit fanart to show off their skills. Other experts may want to see originality, however. So fanart submissions for things isn't always a way to go. It really just depends on what you mean by a final exhibition, I can't really give an opinion or suggestions without more details. Sorry!

I know in the art community that practicing based off other's designs can be iffy. Or more specifically, through a means of tracing. I'm not sure if you're doing that or not, I haven't checked out your blog yet. But I mean, if you're not commercializing others content (as you said) and you're just trying to practice and learn so you can better your artsy craft - I don't see the harm? We all learn how to do art in different ways. Sometimes that's through fanart, other times it's through tracing, for some it's just free-balling it. There's no right or wrong way to learn art, I don't think. It's all muscle memory, also trial and error to figure out your own style.

So long as you aren't claiming whatever you're referencing as your own, I don't see an issue? Crediting the original artist of what you do fanart of I think is important, especially if you're using others work to help with your own. It's the least that can be done and anyone with a brain cell will see you did the hard work of the art but original credit for design or whatever else goes to the original content or artist you're drawing inspiration from. If that makes sense? My brain is goop a little at the moment after a long day, haha.

At the end of the day, what we draw inspiration from I don't necessarily think we have a say in. But we can choose how we engage in it and make sure we give proper credit for things.

I know what you mean about the struggle of finding specific body types, too. Both in general or based on race or culture within the media. Breaking stereotypes to acknowledge the variety of the human race I think is beautiful, which is something I do like about the My Time games. So no, I don't think you're stupid for being excited about that. :)

I also hope any screencaps I post are helpful to you. I'm not someone who does fanart often since usually I save my art energy for doing concept art for work or my own projects. But when I'm feeling that inspiration, I always try and gather as much data as I can. Like pictures. So I hope the archive of Sandrock and Pen screencaps I'm slowly gathering together on this blog can help you in your art endeavors! I'm excited to see your work!

If I didn't address what you wanted me to, please just let me know!! Sorry this got a little long, I just wanted to try and address things as clearly as I could.

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harlequinmoss · 3 years

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How would you rewrite season 3 so it would be more coherent? I'm not talking about a full on rewrite of the entire episodes, I just mean how to make the plot lines and development flow better or changing them to be satisfying for all the characters.

Okay this is a really good question. I was going to say to make it more centered on FOWL but going back and reading the episode titles, it already kinda is. Like there's not that many episodes that don't tie into the finale in some way. I do have tweaks here and there that would help with plot and character development throughout the season. This ended up being a lot longer than I thought so here's a page break lol

Going in a linear format, Steelbeak should have made himself smart in Double-O-Duck instead of making the ray to make everyone else dumb. He'd be a more competent villain and more in line with his character in the original DWD. Maybe he could have even played a roll in LGD. It also would have avoided both him and Launchpad being mostly comic relief characters. I think there's too many jokes at Launchpad's expense about him being dumb. If he went back to his "normal" level of intelligence at the end, he could have told the family about FOWL without jeprodizing the search for the rest of the season. All they'll know is that FOWL is trying to take down the family and where the secret headquarters is. There's still the search for the leader and why FOWL is doing what they're doing. This makes it so that Huey has more to do and accomplish in what is supposed to be his season.

Next, The Rumble For Ragnorok. I'm just going off of memory here. I don't think that this episode did very much in the way of developing characters. Or at all. It was a forgettable filler episode where Dewey learned a lesson about humility or something and then it didn't come into play ever again. This episode could have been removed entirely to make room for an episode after LGD to give the Mallard-McQuack family more screen time and development. A general plot of this episode could be: Huey is helping Fenton and the other adults search the other realities for Gosalyn's missing grandpa. They end up finding him but he's either dead/a totally different person with different memories that doesn't remember Gosalyn at all. This event causes Gosalyn to give up the search and accept that her family is gone. Dewey has an emotional moment with her aside where he comforts her and relates the situation back to his mom and talks about found family while looking back at Launchpad and Drake. (Not really integrating this into any of my other points but if Della died on the moon in season 2 and the kids knew about this, it would make the interaction more impactful) At the end of the episode, its shown that Gosalyn has her own room, either in the lair or in a house similar to the original DWD, and Drake tucks her in while singing her lullaby.

The Phantom and the Sorceress. Oh God, what a mess. There's way too much wrong with this episode. Soup-Du-Silence had a good idea on how to fix it from Lena's perspective, which you can read about here. As for Gladstone, he could have still lost his powers and come to the mansion for help. But instead of him asking literal children, its Della and Donald (and maybe Fethry is there too) and then its a cousins adventure! Donald revels in Gladstone being unlucky but still wants to help. Gladstone doesn't seem so pathetic and played for comic relief. They track down the Blot together after Lena and her family fight him out of the Saberwing house, or they're about to find him when the Blot's gauntlet breaks and Gladstone magically gets his luck back for seemingly no reason, much to Donald's dismay. It might have to be two different episodes because cutting back and forth between the two plot lines would detract time from each and make the episode harder to follow. Idk but there's so many things they could have done that would have made the episode actually good and coherent

Let's Get Dangerous. It was good but it felt rushed. It needed to be longer. The timeline was hard to follow. Instead of the cheap shot at the end were Heron picks Bradford up in a FOWL helicopter, have the triplets being suspicious of him and figuring it out for themselves. Maybe they're all wary for different reasons and talking about it in a group huddle and Huey connects the dots in a dramatic reveal. They confront Bradford who does an evil villain slow clap congratulating them on figuring it out, but before anything else can happen, he's able to escape.

How Santa Stole Christmas. I don't think we needed this backstory. Instead, give us the opportunity to see bonding between characters. Its Della and Donald's first Christmas back together. Let us see that. Give us an interaction about the sweater. "You still have that sweater?" "Of course, wear it every year." And then they hug or something. That's literally all they had to do. Instead of following a Santa storyline that ends in Scrooge leaving an impoverished child alone in a house with nothing but a lump of coal when he could have given a tiny portion of his wealth to help her, let Scrooge learn the true meaning of Christmas through his family. Or even better yet, let him throw a party, inviting over recurring characters, and have it double as a brain storming session on how to defeat FOWL. Show them coming up with the plan for Webby's birthday party. Give us interactions with characters who haven't been there all season. Penumbra can help. Where has she been? She was building a ship back to the moon before, right? Give a conclusion to that. If she's decided to stay on Earth like it seemed in the end of her episode, all we really need is a short two second clip of her hanging out with the other Moonlanders, having their own form of Christmas or Hanukkah or whatever else.

As for the last few episodes leading up to the finale, I get what they were going for. Give each of the triplets one last centric episode. However, I think that the messages fell short in the Dewey and Louie episodes. I think they should have taken more of a Beaks in the Shell approach where the selected triplet still gets to shine, while also setting up high stakes for the finale. Don't be adding new characters so late in the game, be wrapping up storylines with already established ones. There wasn't really a point in adding Kit or Poe, other than the writers wanting to make reference to as many characters as possible. Same with April May and June.

Now for the finale. My main thing: don't make Webby a clone. It messes too much with all the dynamics in the show and ruins the found family message they've had this entire time. It would have been a lot better if Webby's parents were FOWL agents who had a change of heart after having their child and got killed by Bradford or Heron when trying to leave the organization. That's ample reason for Beakley not wanting Webby to know. I think the finale did a pretty good job of wrapping things up outside of that, honestly. Again, there wasn't really enough time to give all the characters a proper ending, like Gene who just disappeared once he was saved, never to be seen again, but if time was managed better in the episodes leading up to the finale, it would have made it so that more characters could have accomplished what they needed to. And what was with Bradford getting turned into a real buzzard at the end? You really going to just undomesticate him like that? Give him some poetic justice, push him into the void that makes people cease to exist.

That's about all I can think of at the moment. Thanks for the ask! It was fun to go through everything and think about what could have been done better

#ducktales #ducktales season 3 #dt season 3 #ducktales critical #ducktales criticism #dt criticism #dt critical

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365days365movies · 3 years

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January 16, 2021: Kingsman: The Secret Service (2014)

I am a massive comic book nerd. Not unusual these days, to be fair. But I’m definitely up there, as far as my obsession with Marvel and DC go. And, yeah, I stick mostly to those two houses, and their various imprints.

Why do I bring this up? Well...remember this movie?

Kick-Ass was a pretty big deal when it came out in 2010, as it was a Marvel Comics movie that was completely unrelated to the relatively new Marvel Cinematic Universe. Based of a 2008 comic book written by Mark Millar and drawn by John Romita Jr., the film was directed by Matthew Vaughn, and featured a more realistic take on how real-world superheroes would actually work.

Vaughn and Millar by this point at least, were friends. Around 2012, they’re getting drunk at a pub together, and talking movies. The topic of spy movies come up, and how there hasn’t really been a good, non-parody, fun spy movie, and that there should be. And that was the bulk of their conversation.

Enter Dave Gibbons, a legendary comic book artist, whom you may know from drawing the comic book that was turned into this:

Oh yeah, he’s a big deal. Gibbons and Millar end up getting together to write a fun spy comic book based on this idea. Vaughn, meanwhile, is getting ready to direct X-Men: Days of Future Past, the sequel to X-Men: First Class, which Vaughn directed. That’s a good movie, by the way, even if I have...issues...with the treatment of the X-Men in film. Maybe one day I’ll get into that, we’ll see what happens. Ask me about it if you’re curious.

Anyway, Millar goes to Vaughn with this script, and Vaughan looks at it and realizes that he needs to direct this movie before somebody else makes it. So he leaves Days of Future Past, and he signs on to...

I feel like it’s an obligation, as a comic book dude, to watch this film. I should also read the book, but I didn’t do that with Kick-Ass, so to hell with it! Let’s get this recap started! SPOILERS AHEAD!!!

Recap

Starting off with some Money for Nothing, and somewhere in the Middle East, 1997! We go into a stone temple, where some kind of mission is taking place. A surprise grenade causes the loss of one of the agents. The surviving agents are Merlin (Mark Strong), Lancelot AKA James Spencer (Jack Davenport), and Galahad, AKA Harry Hart (Colin Firth).

Hart, feeling guilty over the death of this agent, tells his wife, Michelle (Samantha Womack) and child Eggsy (yes, Eggsy) of his sacrifice, and gives Eggsy a medal.

From there, we jump forward 17 years, to Argentina where...Mark Hamill?

Holy shit, it’s Mark Hamill! Apparently, he’s playing Professor James Arnold, and being held hostage by a group of mysterious men. Just then, he’s rescued by Lancelot, showing up with some classic James Bond-style swagger and asking for a cup of sugar, sardonically.

He kicks the asses of these guys, but is SLICED IN HALF BY A MAN WITH SWORD LEGS WHAT THE FUCK????

I’m sorry, I didn’t realize I was watching the best thing I’ve ever goddamn seen. And as if that weren’t enough, she’s working for Samuel L. “Motherfucker” Jackson, playing Richmond Valentine. I am...I am so pleased.

We go to the Kingsmen headquarters, where Lancelot is being mourned by the Kingmen and their leader MICHAEL CAINE, REALLY, HOLY SHIT

Ahem. Sorry, uh...the star-studded cast has basically caused me to have a minor aneurysm. Caine plays Arthur, the leader of the Kingsmen. Get it? I can dig it, I’m a sucker for a good Arthurian reference. Anyway, now that Lancelot’s dead, it’s time to find a new candidate. Apparently, the man that died 17 years ago was part of an “experiment” by Hart, which Arthur says has failed. Galahad calls Arthur a snob, and says that they need to evolve with the times. \

Speaking of that former candidate, how’s his son doing?

Not stellar, it seems. His mom is dating a very unsavory gentleman, and not really taking good care of her youngest daughter. Eggsy (Taron Egerton), on the other hand, is a carefree delinquent. After engaging in an entertaining backwards car chase with the police (it’s cool), he gets arrested. He refuses to give up his friends, and he instead asks for a phone call.He looks at the medallion around his neck, and remembers that he can use the number of the back to contact someone for help. He uses a specific code phrase, but it appears not to have worked. But then, Eggsy is turned loose with little more than a phone call. That’s when Eggsy meets Hart.

We find out that Eggsy has a high IQ and Olympic-level athletics, but has dropped out of the Marines, and has been arrested for drugs and other illegal activities. After being read out by Hart, Eggsy goes on an anger-filled diatribe about the differences in privilege between the two of them. Although it’s short, it’s a powerful speech.

But that speech is interrupted by the owner of the car that Eggsy stole the previous night, as well as his gang. They’re yearning for a fight with Eggsy, and they threaten Hart. He doesn’t take that well, as he shuts the doors and windoes to the pub. Time to teach a lesson.

youtube

Yup, I’m giving this fight the posted video award. It might be short, but it’s also one of the best and coolest sequences I’ve ever seen in a spy movie. And OH, it’s giving me that gadget shit I was missing from the Bond movies.

After one of the most enjoyable fight sequences I’ve seen in a while, Eggsy’s understandably stunned. So is his stepfather Dean (Geoff Bell), the leader of the gang that Hart beat up in the pub. He’s not happy, and he beats Eggsy in their apartment, and that scene is...WHOOF. Much to their surprise, however, Hart’s left a device on Eggsy’s back. He threatens Dean through the device, and tells Eggsy to meet him at a tailor that he’d mentioned.

Once Eggsy escapes from Dean and the gang via nest parkour tricks, he makes his way to the tailor, where Hart officially brings him into the fold, giving him the opportunity to become a Kingsman. He exposits the history of the agency as a private group of spies, meant to protect the world while not bowing to the bureaucracy that plagues government-affiliated spy institutions.

We get to go to Kingsman Headquarters proper, and yeah...yeah, it’s cool. As compared to the other recruits, Eggsy’s pretty obviously out of place. This, of course, is part of the point, as Hart believes the Kingsmen could use someone with different life experiences and background. That would be the experiment mentioned earlier.

Eggsy’s competitors include Roxy (Sophie Cookson), who appears to actually be polite to him, unlike most of the potentials. They settle in for the night...but not for long. Their quarters fills with water, as the entirety of the Kingsmen head towards the showerheads and toilets for air. While they all succeed, Eggsy is the one who actually gets everyone out, by literally punching the window.

Unfortunately, for one of the candidates...it’s too late. These candidates could die in the hiring process. Rough.

Sadly, Mark Hamill also doesn’t quite make it, as Hart finds him, surprisingly freed from Valentine’s capture. As he’s questioned, Valentine is forced to kill him via Suicide Squad implant, and barely escaped from his men. Valentine and his henchwoman, Gazelle (Sofia Boutella) are trying to figure out who the Kingsmen are, to no avail at the moment.

Back with Merlin, who’s training the Kingsman candidates! They’re all told to get a puppy! Aw. Eggsy chooses J.B. a pug, under the mistaken impression that it’s a bulldog. And I’m not a pug person...but that puppy is cute as shit.

Time marches on, and the Kingsmen continue their training. Eggsy’s colleagues continue to discriminate against him, especially Charlie (Edward Holcroft). Hart, who was knocked out by the explosion, eventually wakes up. Valentine goes around to political leaders and proposes his plan to “save the world,” whatever that’s about to mean. Apparently, that includes giving the King of Sweden a surgical implant of some kind. Huh.

This, of course includes some, uh...conflict with Gazelle.

Awesome.

Eggsy’s in the final 6! As Hart congratulates him over this, we finally get some exposition on Richmond Valentine’s plan. See, that implant is the Suicide Squad bomb that killed Hamill, and Gazelle also has one. Additionally, he’s released a plan to the world that will provide free internet and phone data...forever. Not ominous at all, that.

After a cool skydiving training sequence, only three candidates are left. Hart, meanwhile, poses as a wealthy philanthropist, donating to Valentine’s cause. As a result, he’s treated to an extravagant dinner...of McDonald’s. Yes, it is the best product placement I’ve seen in a while, in case you were wondering. That reveal was hilarious.

Anyway, their conversation turns from talking about climate change studies and concerns, to their opinion of James Bond movies, in a lovely little piece of meta flavor. At this point, they would appear to understand each other’s role in the play, as it were. Forgot to mention, Valentine’s been kidnapping anyone who disagrees with his goals, while also distributing his free internet cards. So, there’s that. But he’s also trying to figure out what exactly the “Kingsmen” are. Speaking of...

Our three remaining Kingsman candidates are assigned a mission to seduce a young dignitary. However, all three of them make a mistake, and allow themselves to get drugged at a party, by someone wanting to know who Hart and Kingsmen are. When Eggsy wakes up, he’s been strapped to train tracks. Uh oh.

Despite an oncoming train, Eggsy doesn’t give the man any formation. Which, of course, was the point. It’s Hart, helping to give the Kingsman candidates a little loyalty test, which both Eggsy and Roxy pass with flying colors. But Charlie...Charlie’s a coward who immediately gives everything up, including Arthur himself.

Eggsy gets to spend 24 hours with Hart, before being thrown headfirst into a mission. Hart explains that being a Kingsman means being a gentleman, which Eggsy isn’t. Hart, of course, plans to fix that.

They head to the tailor, and check out some spy gadgets. And much to their surprise, Valentine is also there, under the guise of getting a suit. Hart takes the opportunity to recommend a hatter, who gives him a top hat with built in listening devices. I love it.

Eggsy, meanwhile, speaks with Arthur at Kingsman HQ. He’s commanded to perform one final test: kill his pug, J.B. Which...yeah, damn, that sucks. He doesn’t do it, understandably. Unfortunately...Roxy does kill her dog. She succeeds...and Eggsy’s kicked out of the Kingsman candidacy. Which feels like a bullshit play, if I’m honest.

Eggsy steals Arthur’s car, then goes back home. As he’s about to confront his stepfather, Hart brings back the car via remote access, then explains to Eggsy that the gun was filled with blanks, and that Eggsy ended up giving up his shot. He also reveals that the first candidate to die...didn’t actually die! It’s been a ruse all along, meant to test the candidates under the strictest of conditions. Which sucks, obviously, because Eggsy’s out of the program.

And at that point, Valentine says something of note, revealing that he plans to go to a hate church in Kentucky to begin his master plan. Hart heads there, and tells Eggsy to stay put.

We get treated to just...just the loveliest of sermons. Disgusting. But then...

...that’s the point, isn’t it?

Because Valentine uses the SIM cards to create a signal that drives the parishioners crazy. Hart’s also in the church, however, and he also starts going crazy. Which leaves the question: what happens when a highly trained spy goes up against untrained civilians, has a bunch of gadgets...and has absolutely no restraint whatsoever?

A MASSACRE, THAT’S WHAT HAPPENS. And most surprisingly, it’s a massacre that we actually SEE. Hart basically kills almost EVERYBODY in the church. I’ll put the video up, but...y’know, be warned here. It ain’t pretty.

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Hart comes to, and realizes exactly what he’s done. He leaves, only to be confronted by Valentine and his men. The Bond metaphor finally comes full-circle, explained directly by Valentine. But instead of explaining his whole plan and devising some complicated way to kill Hart that he’ll inevitably escape from...

He just shoots Hart in the head. Holy shit. And this is while Merlin, Arthur, and yes, Eggsy watch on through Hart’s home feed. Looks like a new Kingsman is needed.

Arthur tells Merlin to assemble the Kingsmen. But Eggsy...Eggsy has other plans. Thinking on Hart’s words about wanting to do something good with his life. He goes to Arthur to talk to him about Hart’s death. Arthur invites him in for brandy. And that’s...when my mind exploded.

HE’S FUCKING IN ON IT?!? Michael Caine, NOOOO! Turns out that Valentine’s convinced Arthur of his true plan: a culling. He believes that the Earth’s temperature because there’s simply too much humanity, like a body trying to kill a virus. And so...he’s going to make the virus exterminate itself. And that argument’s enough to win Caine over.

Turns out that the implant is meant to protect those individuals against a neurological signal emitted by the SIM cards, the same one that went off in the church. Arthur, realizing that Eggsy understands exactly what’s going on, poisons him, then asks if he would like to join them. Eggsy refuses...and Arthur sets off the remote poison to kill him.

But NOPE! EGGSY SWITCHED THE FUCKIN’ GLASSES! I love this movie. Arthur dies, and Eggsy uses the opportunity to dig the implant from his neck. He takes that and Arthur’s phone to Merlin and Lancelot, who realize that they can’t trust anyone at this point. And so, the three of them - yes, the three of them - go to stop Valentine.

And, yeah...I can dig it. OH HOW I CAN DIG it.

Roxy goes up in an experimental vehicle to bring down the satellite, Merlin is flying the plane, and Eggsy...Eggsy’s the one going in disguised as Arthur, in order to infiltrate the mountain lair of Valentine. Here, he and the other beneficiaries wait it out, while the world literally tears itself apart. Now wearing a bespoke suit and playing the role of a gentleman, Eggsy enters the lion’s den.

But as expected, it’s time to hit some snags. Roxy waits juuuuuust a little too long, and one of the balloons in her craft pops. As for Eggsy, he meets an old “friend” of his in the form of Charlie, who’s now working for Valentine.

The missile’s fired just in time, as Charlie’s taken out and Eggsy runs for the plane. AWESOME climax here as Eggsy escapes. I mean it; it is VERY cool. They succeed JUST in time, and the satellite is destroyed. However, Valentine’s still managed to partially start the process, and they can’t do anything about that.

Eggsy’s gotta go BACK in, before Valentine gets another satellite to trigger the signal worldwide. Now armed with Hart’s AWESOME umbrella, he makes his way there under heavy gunshot. They’re also teaming up against Merlin in the plane, so he’s not doing great. And that when Eggsy has the idea...to turn the implants on. ALL of them.

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It’s amazing. Violence in fireworks. So, it’s too bad that it doesn’t stop the signal. It works, and people start to tear each other apart all across the world. But only for was long as Valentine has his hands on the desk. Eggsy manages to stop that by laying down some suppressive fire.

That provokes a response.

..This movie is, for lack of a better term, fucking rad.

Gazelle and Eggsy have an awesome fight, worthy of any James Bond movie, seriously. I really want to give it the video post honor, but I’ve done that too much already. For god’s sake, I literally JUST did that.

Gazelle dies (it’s kinda goofy how she dies, if I’m honest), and Eggsy kills Valentine with her prosthetic leg. It’s over, as the signal ends, and Eggsy even gets the girl. Not Roxy, the Princess of Sweden. Not going into it, but it’s funny.

And that’s Kingsman: The Secret Service! Honestly, I gotta say, that was a rad-as-shit movie, and...

Ooh, a mid-credits scene! Eggsy goes back home, to the pub, where his stepfather and mom are hanging out with the gang. And let’s just say...Dean’s gonna get a little comeuppance. Manners, after all, maketh man.

OK, THAT’S Kingsman: The Secret Service! And that, again, was pretty rad. See you in the Epilogue in a few!

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dgcatanisiri · 3 years

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Welcome to DG’s Listing of Wish These DLC Existed, where I theorize, speculate, and just kinda generally throw ideas at the wall about DLCs for games I love that never happened and never will happen, but damn, I’d like to see them anyway.

Because I have ideas, I can’t get them made as mods, I don’t have time to make them into fic, and they’re never going to happen anyway, so why not put them up in a public place? After all, they’re tie ins to games I have no control over anyway, so it’s not like I’ll ever make money off of them anyway. And, as I’m not bound by any hardware limitations in terms of crafting ideas, or production cycles dictating when the game’s endpoint is, these can and do go on a great deal longer than the standard lifespan of a game.

A review of the format: There will be a name for the DLC, a brief synopsis, a reference to when this hypothetical DLC would become available/if and when it becomes unavailable, and then an expansion/write up of the ideas going in to them. Some ideas will have more expansion than others, because I’ve just plainly put more thought into them - in a lot of cases, I wrote them down just on the basis of ‘this idea seems pretty cool,’ and then gave them more context later on.

Feedback is welcome! Like an idea? Don’t like an idea? I welcome conversation and interaction on these ideas. Keep it civil, remember that these are just one person’s ideas, we can discuss them. Perhaps you’ll even help inspire a part two for these write ups! Because I do reserve the right to come up with more ideas in the future - these are the ideas that I’ve had to this point, but the whole reason this series exists is because I come up with new ideas for old stories.

So I HAVE actually been working on my ongoing series of hypothetical DLC to games that I love over the last year (it was the end of January 2020 when my last one of these got posted, this is going up at the beginning of May 2021). Which, yes, some is pandemic related because *screams* but... I was looking over what I’ve been working on, and realized that I was at about the combined length of my first two of these in my present examination, and I was only about a third of the way through the ideas that I had. I could either keep going and do these all at once in a massive post in like another year or two, or I could break it up into chunks.

So instead of waiting, this is going to be Part 1 of (I hope) 3 in an examination at ideas and possibilities of what additional content could have been made for Mass Effect 2, which for some is considered the best of the series. Me, I’m a little more critical of it. To me, this game is a textbook example of bridge syndrome, of the plot spinning its wheels to hold off on the payoff until the third part of the trilogy - the Collectors are, in practice, an entirely separate threat from the Reapers, even acknowledging the connection in the plot. We see this in the impact that the ME2 characters have in the next game - most are in side missions, all perform roles in the plot that literally can have them swapped out, even if it’s to the ultimate detriment of your War Asset count.

So in my mind, there’s a lot of room to make these DLCs, these glimpses into further areas of the world of Mass Effect at large. Because for me, what ME2 SHOULD have been was about making the alliances with the galaxy at large, rather than the big set piece of the Suicide Mission. We got some of this in ME2 proper, but that’s where the core of my focus and attention is with these DLCs.

Admittedly, I am aware of the difficulties of working around ME2 having both optional companions (Thane, Samara, and Tali don’t have to be recruited at all, Zaeed and Kasumi are DLC, many missions are available before you necessarily pick up certain companions...) and the ability to hold off on doing the DLC until after the Suicide Mission, where any or all of your companions may end up dying. However, for simplicity’s sake (because these things are long enough as it is without having a dozen variations apiece), we will assume that all companions are recruited and alive for the sake of plot advancement. Minds greater than mine can figure out how these would work without a given character – me, I tend to clear out the quest log before the Suicide Mission (aside from Lair of the Shadow Broker and Arrival, both of which are minimal on the squadmates from the rest of the game) and rarely let myself lose someone on the Suicide Mission, and since these are my ideas, we’re working in my framework.

Also, timeline note: Like ME2′s actual DLC, the fact that these would unlock at certain points in the game’s timeline does not necessarily reflect when they would best be played in the in-game timeline. Like Lair of the Shadow Broker and Arrival are (as I mentioned above), at least in my personal timeline, post-Suicide Mision content. BUT, they both become available to play after Horizon. Just because they unlock at certain points in the plot, that doesn’t mean that they best fit the timeline in that point. It was just a convenient way to organize things in my notes. So there will be ones that unlock at plot point A, but probably play best after plot point B. Players would be able to decide where they fit as it works for them.

Ghost of the Machine

A phenomenon is spreading across colonies in Citadel space. Machine cultists are cropping up on planets. Shortly thereafter, these colonies go dead quiet – often overrun by husks. To Admiral Anderson, this sounds like Reaper tech, and there’s only one person who he trusts to investigate the truth of the machine cults...

(Post-Freedom’s Progress)

So back to the machine cultists. In our last installment, there was Evolution, which featured them. Here, though, we’re looking at something that kinda resolves this little storyline. Y’know, since ME3 isn’t really going to have the time for this sort of thing. Which, sure, I’m saying this becomes unlocked before you can unlock this game’s machine cultist sidequest, but shush – just because it unlocks at this point doesn’t mean it has to be played at this point. This time, it’s not just about learning about the problem, but we’re also going to see what we can do to understand it, especially since we’re now acknowledging that this is a recurring problem within the universe and maybe we want to find a proper solution to it before stumbling blindly into it gets more and more people killed.

So this takes Shepard to a planet that’s making its first steps at colonization, yet again (because I am trying to be cognizant of what practical realities exist in the game development, even acknowledging that this is a hypothetical thing anyway – early colonization means limited extras wandering around out in the open and a self-contained area to play around in). Those seem to be the places where these devices mainly get uncovered, so that’s why this is here.

Of course, we have a situation where the devices are known about, so there’s an immediate lockdown, and the reason that Shepard and crew are getting sent out is because Reaper experience is needed – in the event that this colony can have anyone saved, who is it and how do we get them out safely?

I kinda look at this as revealing the process – the previous encounters were the parts that told us the existence of the metaphorical monster of this story, here we’re getting to see the “monster” properly in action. And I feel like this should be about also introducing some of what will become ME3’s foot soldiers among the Reaper armies – we know about the husks from ME1, now we’re going to encounter another for the first time. Probably the marauders. Given that they and the cannibals (who are so numerous in part because of the batarian worlds being first in the invasion path) are the most numerous in ME3 aside from husks, we should at least get to see them be pre-established because of their involvement ahead of time – they don’t get any proper introduction as is in ME3, just accepted as being there.

The honest general idea in this one is tying off this thread that was seemingly built, by way of being a repeated thread in both ME1 and ME2, but goes entirely unmentioned in ME3. Obvious reasons are obvious, but that’s why these hypothetical DLCs “exist,” to address things that the games didn’t have time for. (And that’s a big part of a lot of these, so... buckle up.)

Obviously, we have some of the supplementary material to work off of here – I’m specifically thinking of the Illusive Man’s comic series, Evolution. (Side note, TIM’s involvement there should probably also be part of the reason he’s quick to send Shepard in here – he knows what these artifacts can do.) You can read the wiki page as easily as this, but to quickly detail the important part, we know what these are through them, artifacts meant to ease the way for the eventual arrival of the Reapers by doing the huskifying work ahead of time, without the need for things like the Dragon’s Teeth (which... I want to bring these into this in some fashion, considering they seemed to have importance in ME1, but as the numbers of husks increased in the later games, they fell by the wayside – ME3 claimed that they were basically just to increase a subject’s adrenaline and spread the Reaper tech through the victim’s body quicker from the fear of impalement, and that seems like a lot of effort for little reward, since nothing indicates a way to come back after infection anyway).

So why are these on far-flung colonies, especially when the husks definitely don’t have the mental capacity to control ships and spread out that way?

Since, again, there’s no way to come back after infection anyway, that’s going to be one of the core questions. This seems like a highly inefficient way to set about conquering the galaxy. Why spread this if there’s no reliable method of getting it to go beyond any singular world? (Obviously, the original idea seems to be a) BioWare shock value and b) something to horrify the audience with no reason attached – so it’s time to add that reason). What is the purpose?

So that’s going to be a running thread, probably the major subplot of the story. Obviously, though, the first priority is Shepard trying to escape getting caught up in this colony that is descending into Reaper control. Also, since I said we’re introducing the marauders here, I think we need a turian contact on the ground – I almost said make them a female turian, introduce them to the world of Mass Effect well ahead of the DLC for ME3 (a-HEM!), but I also think that we’ve got another situation of seeing them get infected and die as a result – it IS a consistent point in this series that coming back from Reaper infections Is Not Done. And repeating that here makes it a consistent theme, considering Nyreen.

So while I still say there should be female turians making their appearance among the turians of the colony, our turian buddy is going to be a guy, just for the sake of not stuffing another named female turian in the fridge. I’ll get to a more proper introduction of a female turian later, promise. (And, I like to imagine, with the number of DLCs I’m writing up here, there’s some kind of ability to retroactively introduce female turians into the crowds in the base game as a “patch” through at least one of them, as well as into ME3 proper... Hey, this is all fantasy as it is, let me have that one.)

Anyway, the turian contact is going to be frosty with Shepard – he (I don’t have a name for him at this point) not only doesn’t trust Cerberus, he was also friends with Saren, making him distrust Shepard. While Saren was a traitor, it’s got an element of ‘guilt by association’ to have had close ties to him, so Shepard’s kind of a living embodiment of the hit to his good name. Even if he didn’t do what he did because of Shepard specifically, they’re still associated. But he is still on a mission and Shepard is here and willing to assist him, so...

That said, he’s a Cerberus contact – Cerberus may be human first, but, given the ME2 crew, they can cultivate non-human contacts and aid, and under the circumstances of this colony, being a joint endeavor of humans and turians (probably throw in some callbacks to the last edition of these hypothetical DLCs and mention Ambassador Goyle and the Planet of Peace story). He’s been influenced by Cerberus operatives because hey, it’s good for humanity and turians to make peace if there’s a greater threat, right? Shepard meets with him on the outskirts of the colony proper – in order not to be influenced, they’re acting as much outside of the colony as possible. (Come to think about it, it might be a good idea to make recruiting Mordin a pre-req for this, at least handwave him having come up with a measure meant to protect from Indoctrination and the effects of these artifacts.)

The artifact is already influencing colonists, of course, and our turian friend is ready to write them off immediately – they’ve read the reports, and indoctrination can’t be reversed. I picture a brief discussion about how horrible indoctrination is as a weapon, making the Reapers enemies into their servants, and so warping their minds and perceptions that they’d never be able to trust that any thought they have afterwards is their own, even if they could be saved. Because seriously, that’s one of the most unsettling things for me in this franchise.

The idea is, of course, to get in to where this artifact is and destroy it unseen. That probably means a stealth segment through this colony – honestly, do it like the batarian base in Arrival, I don’t think that it would be so bad. That offered some nice variation, if a little spare on interactable things. Here are going to be some interactable things, things you can get to if you’re good, pay enough attention to the line of sights and such, but will still risk discovery.

Those interactable things are going to be some of the background of the artifact and what’s the whole deal – y’know, codex stuff, things that aren’t essential to the story but good background. Lay some groundwork for the idea of what the Reapers want out of these things being left behind.

Stealth section comes before the inevitable action section, of course. Here, the artifact is in underground caverns (like normal) and our turian buddy sets out to make some quick scans, get the information they need. And, of course, it activates at his approach, zapping him with energy. He tries to shake off any effects but... Well, I already said that he was gonna get infected and die.

So here’s where we start seeing the husks show up. It’d be really nifty if we could get them in varying states of their evolution (or devolution, depending how you look at it), some people just having glowing eyes, others being full on huskified.

And, of course, our turian contact is now in the process of becoming a marauder. I’m thinking we’re having something of the same thing as with Saren here – now that the Reapers made contact with him, they’re framing him as their “herald,” the one who’s going to act as their instrument. Shepard rightly gets to point out the comparison, which does at least get some hesitation – he’s being indoctrinated, is in the process of becoming a pure Reaper tool, but isn’t all the way there yet, the process isn’t 100% immediate.

Also I figure this is a good time to really establish (in terms of ME2’s plot) that the Reapers are so interested in Shepard and why. Like, yeah, sure, we do get Harbinger’s whole thing, but that’s not really a dialogue where we get to ask questions. It’s not even an interrogation where Harbinger demands information. Harbinger just spouts out dialogue of “this hurts you” and such. That’s not really telling us anything. So, yeah, there’s the basic “Shepard defeated a Reaper,” but hey, let’s just get a little more out of it.

I mean, we can intuit what Shepard means for the Reapers, sure, but if it’s important enough to be a major motivation, it’s important enough to say outright, you know? So Shepard is a pinnacle for this cycle – they killed a Reaper, delayed the advancement of the cycle for a few years, that’s a bit of a big deal when it comes before the harvest proper starts up – and the Reapers (like Leviathan will later) want to better understand what makes them tick. If this is unique to Shepard or the human condition, and, if it’s the later, how to break this down to its basic chemical composition and make it their own.

Turian buddy is also here to mouthpiece the explanation for what the Reapers even expect to gain from this. Slaves who can’t operate the mechanisms that they’ll be using are poor servants. I figure it’s as much an intimidation matter as anything – prompt the effective burning of a colony without deeper investigation, sow some fear about the unknown and keep people staying to the comfortable and familiar areas of the space that they live in, corral them in the familiar patterns. It’s a plan with the intent of intimidation – it isn’t until the harvest that they need the servants, so until then, they just want the borders firmly established.

Seems simple enough, sure, but this is still a mystery as far as the game proper is concerned, and I am trying to work within the established structure of the trilogy, rather than come up with some massive reveal that changes our understanding of everything – if I WERE just going to rewrite the franchise, I could do that, instead of writing up synopses of add-ons to the main game, y’know?

Of course Shepard’s gonna get free – I’m thinking that it’s a rescue effort by some of the other crew on the Normandy (because it really bugs me that, when the game is focused around Shepard gathering up the “Dirty Dozen” for their “Suicide Squad” (look, I had to get that out of my system), they only take two members out on missions at a time, so hey, look, they get up to something while Shepard’s busy doing the dirty work. This being ME2, we have to shoot our way out even further to get back to the artifact, which is where our turian ‘friend’ waits.

Paragon/Renegade choice here – do we try and reach out to him, get him to help us blow the artifact to hell, or just jump straight to the boss fight? By this point he has some additional help, by way of our introduction to a harvester – these were dropped into ME3, on Menae, with no exploration, and non-Reaper ones were meant to be enemies during the development of this game, so call this the natural evolution of matters. We’re introducing the marauders and the harvesters ahead of time, explaining the lack of fanfare that these enter the “proper” storyline with. The difference is if our turian friend is aiding us or the harvester, the harvester being our big end boss for this DLC.

The harvester gets killed, the artifact is blown up with the turian (he chooses to remain if Paragoned, a reminder of the permanent effects of the indoctrination process and how this is something that can’t be fixed – hammer home some of the fear and anguish that will be impacting those left behind from the inevitable fighting). Shepard returns to the Normandy for a debrief (I do kinda picture Miranda being involved in that, because, again, squadmates get additional dialogue here, and she IS the ranking Cerberus officer). Also some set up about discussing about Cerberus efforts to better understand indoctrination (foreshadowing for Henry Lawson’s experiments on Horizon next game).

Post Game Followups:

ME3: Indoctrination has seen further study, providing a war asset. Dialogue changes to reference Shepard having encountered marauders and harvesters before.

Commander Shepard

The Suicide Mission is coming, and the Illusive Man has asked for all of Shepard’s companions to have their heads cleared. Now it’s Shepard’s turn. Their burdens have remained – the loss of the Normandy, the death on Virmire, and their death at the hands of the Collectors. The rest of the team has to clear their heads, and now so must Commander Shepard.

(Post-Horizon)

Yeah, why is it that, while we’re dealing with having to clear the heads of our crew, our PC, who has canonically been killed and resurrected, does NOT have to do this? So, yeah, Shepard needs a good head clearing. (For the record, I have written a fic of this: Lazarus Risen, and that’s effectively where I’m going with this, so if you’re so inclined, check it out instead of reading this, since while the recap is shorter, the fic itself is not too long.)

So, if you don’t want to read that, my idea when I made the fic was to explore both the idea of “Commander Shepard’s loyalty mission,” or the one where Shepard clears their head, AND the thought of just what the heck required Shepard to take all their companions on a mission and leave the Normandy vulnerable to the Collector attack after obtaining the IFF. Now, I’m saying that this mission unlocks after Horizon, but in my mind, that’s when and where this mission takes place. I just don’t know how to implement it within the game design that presently exists, so we’re gonna leave that open to player interpretation.

So the starting point of the fic (and thus, this DLC – like I said, that’s effectively where I’m going with this) is that Kelly Chambers, in her role as the Normandy’s official unofficial counselor/therapist, has recognized that Shepard has a lot of trauma associated with their death and resurrection they have not worked through, and so that’s gone into her reports to the Illusive Man. Mister Illusive contacts the Normandy, declaring that Shepard’s going in to a Cerberus facility, along with their crew, for a full psychiatric workup – the mission is too important to not have all these issues dealt with before going into things.

A bit of fun with this, on the basis of it being why Shepard is taking their whole squad off the ship, is that there’s the opportunity for some banter and genuine crew interaction, something that is sadly missing from the base game itself. Since I’m me, and this is about what I want from these, this is also an opportunity for some character stuff with Shepard, both playing referee (maybe getting a chance to recover some of the loyalty divisions from the confrontations if need be?) and getting to be able to better build and display the growth these characters are going through from seeing their loyalty missions resolved (cuz you DO resolve all the loyalty missions before activating the Reaper IFF, right?). The whole point of doing them was to clear their heads, encourage growth, and the thing is, we don’t get much of that forward arc in ME2, with ME3 just catching us up later. At least half the point of these is some retroactive continuity to smooth out the trilogy’s edges, after all.

Moving on. The arrival at the Cerberus Station (I am assuming this is the same one from the early part of the game, the one Miranda and Jacob take Shepard after they escape the Lazarus facility, though it doesn’t have to be, just a convenient use of model reuse) is uh... complicated. After all, Shepard’s motley crew is not exactly Cerberus approved (even if TIM authorized it – remember how Brooks in Citadel will mention that “Cerberus was a human organization bringing in aliens”?). There is a stir. A handful of situations have to be defused before everything properly gets under way.

This isn’t in my fic because that was focused on the one thing, while, as DLC, this would have to fill out some additional content to justify the time spent and the resultant price tag players spend to buy it, but I kinda figure this is where we can start seeing where the dissent is for Miranda in particular (probably Jacob too), given her Cerberus loyalties. This is a Shepard-focused mission, but I do see Miranda having a relatively decent role in any sidequests, character bits, and dialogue, given that we presently have in her a Cerberus loyalist right up to the point that she sees the human Reaper in the endgame. Especially if she isn’t part of the endgame squad, I feel we should have some material that connects those dots somewhat. I mean, I expect all the characters SHOULD get some, but Miranda in specific is the one with the almost explicit arc of taking her from Cerberus loyalist to her “consider this my resignation” remark to the Illusive Man at the endgame.

The Cerberus station director (my fic said her name is Doctor Nuwali, so we’ll be going with that) tries to organize the chaos that is Shepard’s squad (Shepard being as helpful or obstructionistic as the player chooses to allow, because Cerberus and authorities figures are always fun to poke at, and we’re getting both of those rolled up in one). Building off the above point with Miranda, there’s also clearly tension between her and Nuwali – Nuwali is, in many ways, a reflection of who she was at the start of the game, the pure, uncompromising believer to the cause and the results-driven focus without acknowledging the human cost, while Miranda has been in the position of growing and developing and questioning (Like I said, connective tissue for her character arc).

Nuwali directs Shepard into a private room for their psych evaluation, insisting on the separation of Shepard from the squad. (Just go with it, it’s for plot purposes.) Within is a prothean artifact, and it begins to react at Shepard’s arrival. It flashes-

-and Shepard finds they’re now in the Virmire facility. This is the requisite combat segment stuff that I can brush past during the recapping. The point is that they’re making their way through the geth to the area where the bomb was deployed, to find Ashley or Kaidan, whoever was left behind on Virmire (even if they were left with the distraction team and Shepard didn’t go back for the bomb, Shepard is guaranteed to have been at the bomb site, not the other area, so...).

They assist Shepard in clearing out the geth and then go into confrontation mode – “you’re working with Cerberus now, what the hell?” You know all the fan debates about why is Shepard working with Cerberus, given the horrors they uncover in ME1, especially if you roll a Sole Survivor (and, considering that is the default Shepard background, that’s clearly BioWare’s preference, so it’s not even like this shouldn’t come up – DLC is better than nothing, you know?).

Yes, we’re doing a “defending your life” style thing here. Hey, the game could use that, considering how Cerberus is the bad guy and we’re working with them. We deserve a more critical examination of this concept.

It’s a bit of a verbal joust – Ashley/Kaidan question what Shepard’s doing, their purpose in working with Cerberus, why they aren’t just leaving, how they could have tried to turn them in to the Alliance and the Council after they were given the Normandy and use the information in the ship’s databases as evidence of the Collector threat? There were ways for the story to progress that weren’t this deal with the devil. Shepard gets to acknowledge their points, struggle to justify what they’re doing. Emphasizing that this IS a deal with the devil, and if Shepard doesn’t find a loophole out of it, they’ll be condemned alongside Cerberus as well – not blowing them to hell in the here and now can make them culpable for their future activities, especially if Cerberus tries to bank on the idea of “Commander Shepard worked with us” (like they do with Conrad Verner in ME3).

Call it “preempting the ‘we should have been able to side with Cerberus’ discussion” that cropped up after ME3 – people, we ARE talking about a xenophobic terrorist group, how were they EVER gonna come out of this series looking like the good guys in the final analysis?

The ultimate point is that this is not a good situation – whatever good might come of Cerberus in general, Cerberus cannot be trusted. Ashley/Kaidan point blank ask can Shepard truly justify staying with them, doing the Illusive Man’s bidding, regardless of their good intentions. And I don’t really think there’s a good answer here – again, in my head, this plays as the mission Shepard’s on when the Collectors attack the Normandy, and, because I make sure to do all the loyalty missions before going to the Collector Base, Shepard is about to cut ties with Cerberus by way of a massive explosion (because I’d never trust the Illusive Man with the Collector Base), this is basically laying groundwork for that moment.

If you don’t do things that way... Well, sorry, but this is my hypothetical DLC, so we’re playing things my way.

Anyway, this sends Shepard on their way to the next installment of “defending your life.” Because we’re absolutely following the Rule of Three here, so there’s more than just the one segment. More requisite combat stuff happens, this time fighting through the Citadel tower again. At the end is Saren. Because why wouldn’t we have an encounter with him when Shepard is doing questionable things in the name of defending the galaxy?

He, of course, is rather smug about the fact that Shepard is allying with the devil in the name of fighting the Reapers – to him, it comes across as something of a victory, because here Shepard is, the person who came after him for his alliance with Sovereign, having made his own deal with the devil. If Ashley/Kaidan were the angel on Shepard’s shoulder, the voice of their conscience, telling them that they are making a mistake working with Cerberus, Saren is here to be the devil on the other shoulder, pointing out all the value there is in working with them, in doing whatever the mission calls for to put an end to the Collectors and the Reapers.

One would hope that this kind of rhetoric from the villain of the first game would make it very clear that Cerberus are the bad guys. As if to drive the point home, Saren also brings up that Shepard was rebuilt by them – with what is certainly Reaper tech. Shepard has begun the process of ascending to the Reapers level, what’s some more, melding more with their tech, bringing that melding, that joining, that unification of organic and machine, to the people of the galaxy, of doing the Reapers a favor and acting as their instrument in raising up galactic civilization?

Things of course descend into a firefight (because we’ve got to have our action quota). This time, Shepard gets to pull the trigger and personally kill Saren – sure, I get satisfaction out of persuading him to shoot himself, and I can always take the other options if I’m really pressed to face off against him, but I want the visceral satisfaction of having Shepard standing over Saren themselves and pulling the trigger.

It’s the little things, you know?

Anyway, because Rule of Three, this proceeds Shepard to the third point. They are back on Lazarus Station. No combat this time, just proceeding through the halls until they find themselves in the spot where they met Jacob in the prologue. Here, they see Miranda and Liara, discussing the act of giving Shepard to Cerberus to rebuild. While at first they’re talking to each other (whether or not you want to interpret this as Shepard somehow having heard the conversation or this just being Shepard’s interpretation, that’s up to you – we’re already in the center of Shepard’s mind here, does that really need explaining?), eventually, Shepard gets to speak, raise concerns, raise their voice.

Shepard gets options – do they understand and appreciate what was done to them, the resurrection and effective drafting into Cerberus? Or are they angry and pissed off – they were dead, and then someone else comes along and decides not to let them rest. For me, this has always been an issue of bodily autonomy, where, with Liara using the reasoning, and I quote, that she “couldn’t let [Shepard] go,” SHE is the one deciding what to do with Shepard’s body. Whatever you might say about what that did to make the galaxy a better place... Was it what Shepard would have wanted done with their corpse, to be handed off to a terrorist group culpable in acts of horrific deeds so that they could play Frankenstein with it? This is, in the games proper, just completely ignored – the one option to be angry is about Liara hiding this from them, not about her DOING it, and in ME3, Shepard – without player input – frames Miranda and the Lazarus Project as “giving them back their life.”

Yeah, no. I can forgive Miranda’s actions, given her characterization is actively about her going from looking at Shepard as a resource to be tapped to a friend (or possibly lover). It’s not perfect, but it’s still part of her arc, and she does at least make an apology (even if the writing doesn’t focus on the part I want it to, that ME3 conversation being focused on her wanting to implant Shepard with a control chip).

But I NEED to be able to express anger at Liara in some way just to like her, considering her canonical reason for doing this is all about HER – not that she considered Shepard the only one in the galaxy who could stand against the Reapers, but that SHE couldn’t let Shepard go. When in my games, she has no right to that. She’s not the one my Shepard’s are in a relationship with. So what those who romance her probably see as an act of love and devotion, I, not romancing her, can’t see it as anything but an act of obsession. And, even if I have to limit myself to a mental simulacrum of her, because there’s not a better place to include such a thing in these DLCs, it will help me, because it’s at least acknowledgement that hey, maybe Shepard is kinda pissed about people making decisions about them for them.

*ahem*

Right, so, where were we? Right, the reaction to Miranda and Liara discussing what to do with Shepard’s body. So as Shepard reacts, this prompts appearances from Ashley, Kaidan, and Saren, all of them playing Greek chorus about the decisions made about Shepard and how Shepard is reacting to them all. And yes, now we have both Ashley and Kaidan, regardless of who was left on Virmire, because why not – if we have one of them showing up for this DLC, why NOT include both of them? You’d have both actors in the studio anyway, so... Basically this is the big character confrontation where they all make the points that fans can debate and nitpick over when they bring up this topic, until finally the question gets put as, effectively, “well, however you feel about it, it has been done, so what are you going to do now?”

And to answer that, Shepard has to reenter the room they woke up in. Because we’re not quite done here yet.

Yeah, that whole conversation piece? THAT was the third “fight” or “combat” scene of this sequence, done in dialogue. Think the Atris confrontation in KOTOR 2, a verbal standoff. The actual interaction that Shepard has to face in the operating room... is themselves.

And their mirror image is offering similar questions, now wanting Shepard to respond, rather than having other characters voice opinions for them. How do you play Shepard’s reaction to their death and resurrection? To the fact that they are spending this game working with Cerberus, who is responsible for a traumatic event in roughly one third of all Shepard histories? Who Shepard uncovered multiple instances of their mad science in ME1 that crossed every ethical line? Who have it repeated rather consistently, is a humanity-first organization who will put human interests (and Cerberus interests, claiming they’re the same) ahead of galactic ones? If the Collector Base has (or is) a Reaper weapon, do they legitimately trust the Illusive Man with this power? Does Cerberus or the Illusive Man REALLY deserve any loyalty from Shepard?

Think of this as “stage two” of the verbal boss battle.

So, the confrontation with themselves concludes with, effectively, Shepard making their decision for going forward – the idea is that it has all been a mental debate, Shepard talking to themselves and coming to a conclusion that they needed to make. The general idea probably is one that, if you’re an obsessive fan with a penchant for filling in the gaps of canon (hey how are you?), you may have imagined these kinds of thoughts and discussions and conversations happening, but isn’t it more satisfying to actually have them take place on screen? And two, Shepard confronting themselves is, in and of itself, always a big deal. As I said at the beginning, this is Shepard’s loyalty mission, done to clear their head. How could it not result in Shepard facing themselves and asking themselves these big questions directly?

When Shepard officially makes their decision for the forward march, you know, figuring out how to handle Cerberus from here on in, which basically come to, effectively, use them for their resources and cut them loose at the end of the crisis or cut ties now and let the chips fall – since, after all, aside from Miranda and Jacob, whose loyalties to Cerberus are already wavering, Shepard has a squad full of the most dangerous people in the galaxy, so they could handle a mutiny of any kind (and, on the player end, there’s the knowledge that, while all this is taking place, EDI is getting unshackled and effectively is capable of running the ship) – they’re kicked back to reality.

And yes, those are the only two results of this, because, just to hammer it home, Cerberus is NOT. THE GOOD GUYS. The Illusive Man is not secretly good, he’s just using the “humanity needs protection” line to justify his actions and attitudes that are about seizing power. And anyone who thought that we would, should, or could side with Cerberus come ME3 was kidding themselves.

Granted, with this line of thinking, I’m not sure what the motivation would be to give Cerberus the Collector Base at the endgame (I mean, I never have, so...). Maybe the idea of “indoctrinate yourself, get taken in by the Reapers, you bastard,” but... That doesn’t seem right for Shepard’s characterization. Eh, like I said, much of this is based in how I play in the first place, so if you want to try and figure that out, feel free, but my list, we go by my way of approaching things. Because that’s just how I roll.

So I haven’t explained what, exactly, this prothean artifact is. Well, it’s effectively nothing more than a plot device, but let’s say there’s a note that becomes interactable, that basically talks up the artifact as being what I’ve called it so far, something that is meant to allow the user a chance to directly interact with themselves, face the truths they deny. Again, this really is a plot device meant to allow the circumstances of the plot, and while I could go into the details of how I assume it works, it really just needs to exist, but that’s my handwave excuse to justify how it worked. It works very well, thank you for asking. The reality is the how is less important than what it brings up.

So, Shepard is back in the physical world, and sets about putting the ideas into motion – the Illusive Man wanted them here? Yeah, no. Not doing that anymore. Shepard gets their crew out of there, upsetting doc Nuwali (giving the impression that there were some sketchy ideas in mind for Shepard’s companions when they were alone themselves, invasive procedures that they’d knock them out and see if they could take them apart and put them back together, now loyal to the Cerberus banner that sort of thing) and has a brief chat with Miranda as they fly back to the Normandy.

...You know, which, based on my time table, is currently under Collector attack. Fun times!

Post Game Followups:

ME3: The artifact as a war asset, reports about Nuwali being captured by Alliance officers while in the process of having attempted some of those ‘sketchy ideas’ she’d meant to enact on Shepard’s companions.

The Lights of Klencory

The planet Klencory is rumored to hold secrets regarding ‘the machine devils.’ Admiral Hackett of the Alliance has suspicions these are references to the Reapers, and has been secretly investigating these. Now, a team of Alliance soldiers have vanished out there, and he’s calling in Commander Shepard as a specialist, along with an old friend...

Bonus Companion: Ashley Williams/Kaidan Alenko

(Post-Horizon)

So back on the old days of the BSN, before Arrival came out, the speculation was, after Lair of the Shadow Broker, that the successive DLC would feature Ashley or Kaidan, give them the same treatment Liara got by featuring them in a DLC. One of my favorite ideas featured the concept of the “machine devils” of Klencory. You know, the planet blurb from ME1 where a volus is digging into a planet in search of evidence of “lost crypts of beings of light,” the indication being that he’d had his mind scrambled by a prothean beacon. So, hey, guess where we’re going?

I mean, obviously Illium, duh.

Actually, that’s not a bad starting point. Illium in general seems to be fairly neutral territory – sure, technically a planet in Citadel space, given its an asari world, but with many Citadel laws relaxed, it makes for a place where “an Alliance operative” will meet with Shepard (We’re starting by way of a letter from Hackett, for the record) without it being considered suspicious behavior by those looking in who are not in the know about the tacit support that both Hackett and Anderson are offering Shepard. There’s a lot of questions coming into this on Shepard’s part, given that, at this point in time, they’re not really an Alliance officer, and yet this is apparently something that is getting them called on? Probably means Reapers.

It gets complicated once Shepard arrives for the meeting and finds Ashley/Kaidan is their contact.

So, before we go further, I want to acknowledge, by the nature of having any real contact between Shepard and Ashley/Kaidan between the encounter on Horizon and the opening of ME3, I am effectively breaking one of my cardinal rules for these, namely the idea of not screwing with the pre-existing structure of the games’ plots in allowing Shepard and Ashley/Kaidan SOME form of genuine contact and communication, to the point of a chance for a legitimate conversation about things and where they stand with one another (Yes, the previous entry was bending that rule, but this is an outright breaking of it).

Thing is, this is one thing that really SHOULD have existed in the games proper, I shouldn’t have to have built something up to include here, and I will 100% die mad about it. Ashley and Kaidan got shafted by BioWare’s handling of things, and I’m not willing to forgive it (if you follow my liveblogs of replaying the games, you’ll know I frequently complain that Arrival really was gift-wrapped to serve this function, and yet it doesn’t so much as mentioned Ashley/Kaidan). So yeah, we’re having an opportunity to address this stuff right off, it’s taking place in the game “proper” (for a given value, considering all of this is made up, but...). I’ll get into how this will impact their interactions come ME3 in the “Post Game Followups” section, for now, we’re just going with this.

Also on the “to note” element, I am mostly going to refer to Ashley/Kaidan in the sense of swapping them into place for one another, since, obviously, they are mutually exclusive at this point in the trilogy. But I do want it understood that I am not viewing them as interchangeable characters but as individuals. Just... If I stop to explain all the little differences of how they interact with Shepard in this, the variations of what they say and do on the character level, I’d basically be writing this out twice, which this is going to be long enough as it is, you don’t need to read the plot summary twice, and I certainly don’t need to write it twice. Assume that, even if not explicitly indicated, there ARE differences in behavior and dialogue that are reflective of them as separate characters and people, even if the overall plot must go forward regardless of how differently they’d react as individuals.

And you might want to pay close attention, since there will be a lot of use of “they” pronouns ahead, since Ashley/Kaidan is more awkward to write and I make it a point to not address the player character (in this case, Shepard) by one gender or the other in these write-ups, given that that’s variable, so things might get a little confusing if you’re not paying close enough attention to the context.

So... The meeting with Ashley/Kaidan begins... awkwardly. They’re uncertain how to really react to Shepard – sure, the encounter on Horizon means they know that Shepard is back, but now they’re really having to deal with this particular reality. So they’re going to aim to jump to business. Alliance intel has intercepted some messages from mercs hired out near Klencory, which got Admiral Hackett paying attention to things happening out there – like Shepard will acknowledge, between the circumstances of this meeting and the quick summary of the reason for the mercs all being out there, this sounds like it’s connected to the Reapers. Hackett wants to have Shepard as a “special consultant” as the Alliance has someone (re: Ashley/Kaidan) investigate (“consultant” since Shepard may not have had their Spectre status restored, so it gives them legitimacy either way). It could, potentially, just all be a massive coincidence. But since when are things ever “just” a coincidence?

Ashley/Kaidan are willing to use the Normandy as transport – Hackett figured that, between the stealth systems, and the lack of official Alliance authority in the area, the Normandy is the better option for getting there without being told to get lost. The bigger question is how they’ll be received – it’s not like merc gangs take well to outside interference, and the Alliance having any jurisdiction out there is questionable at best. But they should at least TRY to go in with civility. If this volus billionaire spending all this money on this (his name, for the record, is canonically given as Kumun Shol, so hey, less work for me, having to come up with a name!), then if he hears from someone who seems to be taking him seriously, it might get them invited in explicitly.

Obviously, though, if they’re hitching a ride on the Normandy, if things remain unspoken, the trip out there will be very awkward and seem longer than it is. So they have to address Horizon. They’re not going to apologize for not joining Shepard – Shepard is still operating on a ship flying Cerberus colors, even with good intentions, that is a betrayal of their oaths to the Alliance, Cerberus are terrorists and xenophobes, who want to secure human dominance. But they will acknowledge that they reacted to Shepard’s return in a way that wasn’t their best. I am not going all the way to “they admit that they were wrong,” because based solely on the information that they had, they handled things as best as they realistically could. But they will regret that things ended on the terms that they did.

Shepard gets to respond to that – are they accepting that it was a bad reaction to unexpected information, do they still hold a grudge, whatever. The conversation continues to a point of conclusion – Ashley/Kaidan don’t trust Cerberus, they want to trust Shepard, but the connection between the two at the moment makes that difficult, and they don’t know how to bridge that gap as things stand, but they’re going to try this.

We will be coming back to this, never you fear. But, of course, that’s more for the ending than it is the beginning, and this one conversation is far from the end.

Klencory is a world with a toxic atmosphere, so they first have to gain access to a semi-decent landing zone near where Shol has established himself. Because, naturally, he’s not interested in visitors – the brief communication we get with him is him effectively talking himself into the idea that Shepard is “the agent of the machine devils,” which... I mean, considering the prothean beacons and communications with the Reapers, it’s not crazy that he goes there, even if (by the rest of his actions), Shol’s gone a little nuts.

Shooty shooty bang bang, fight through the exterior guards and into the facility proper. Ashley/Kaidan are a little uncomfortable about what’s gone on – this really isn’t how they pictured things going, given the legitimate credentials they were supposed to be coming in with, and they can recognize the fighting is because of Shol not giving them an alternative, but it does still make them feel like they’re acting as little more than the thugs they’re dispatching.

Call this a reaction to the fact that Shepard doesn’t exactly get much of a differentiation in the game themselves. Particularly when they can call out looters on Omega while swiping whatever’s not nailed down.

This is another conversation that’s going to be part of that “coming back to” thing – assume there’s some kind of tracking metric for all of this in the same vein as how ME3 tracked how Ashley/Kaidan responded to Shepard as a lead in to the confrontation during the coup. Just, I’ll get to how that all plays out at the end.

Because a band of mercs aren’t enough to hold off Shepard, Ashley/Kaidan, and the third companion (yay party balance), they reach Shol’s central command. He’s a little batty, but it finally gets through to him that Shepard is not the agent of the machine devils. He is skeptical of Shepard being the savior from them, though. Instead, he wants Shepard and company to do something for him.

There is a vault. A vault none of his men have come back from. Shol declares that, if Shepard can enter, learn its secrets, and survive, then they will have proven themselves to be salvation from the machine devils. Since this is the advancement of the plot, Shepard will have to go ahead with this, even with the natural objections of Ashley/Kaidan (and, probably, Shepard themselves).

Another pause for a dialogue – Ashley/Kaidan are skeptical of Shol’s motives, and believe it may be too dangerous to just do what he says. Especially considering that he’s clearly not entirely stable. This is a situation that really calls for calling for backup. But there’s really not the option of waiting, because if they don’t do as Shol says, he’ll throw all his mercs at Shepard – even if we’re assuming that Shepard versus countless mercs ends well for Shepard (because, after all, it’s Shepard), it’s just a senseless loss of life.

Going in is a set piece of suspense. Think the Peragus mine, with a dash of Korriban for good measure, from KOTOR 2 – lot of littered corpses, this creeping and foreboding unease and feeling of being watched, this overbearing expectation of SOMETHING appearing down every dead end... Build the tension. This is a place that, the littered dead aside, no one has entered in thousands of years, it should absolutely be a place that could chill you to the bone. The examination of anything should feel like it’s disturbing the dead.

You know there’s some ancient security device active, right? I mean, something’s killing the people who trespass here. Obviously, it has to be something that will put up a fight as our end boss, and it needs to be something that is able to last a long time. I’m thinking an ancient robot (my mind is going in the direction of something similar in design to the ancient droids of KOTOR’s Star Forge), a last defense, left behind by a precursor to the protheans.

Yeah, it feels like an underwhelming result to me too, but it makes logical sense all the same – we have some evidence of things from prior cycles, not just the prothean cycle, making it through to the next ones, not the least of which is the plans for the Crucible. Seeing as how that bit of intel is just dropped into our laps come ME3, this is at least making it functionally foreshadowed, if indirectly, by actually showing us ancient technology that is still functional and viable even after more than fifty, a hundred thousand years. Plus the foreshadowing of things surviving to this cycle in the vein of Javik. Things lasting this long in forms beyond just ruins at least makes all of that happening in ME3 at least have some groundwork laid in these prior games – otherwise, we only have a few codex references to ancient civilizations, as opposed to it being an actual component of gameplay, things that the player MUST interact with.

But yeah, the threat may be underwhelming, but the payoff is what it guarded – the last remnants of this ancient culture. The corpses have been preserved, given that it’s a bunker into the planet’s mantle – the toxic nature of the atmosphere now came about because of the Reapers, though, of course, this is only spoken of in the material available as “the machine devils.” There could be a great wealth of information among this stuff.

Thing is, now that the threat’s dealt with, Shol wants his prize. He spent years of his life and a great deal of his money on this, and now he wants to use it – and, because he still is a paranoid bastard, he’s not particularly inclined to uphold his end of the bargain, having expected to have Shepard and the “guardian” of the tomb (for lack of a better term) kill each other. He just wants all of this to increase his own fortune – he’ll sell everything within to the highest bidder and damn what the Alliance, the Citadel, anyone might be able to get from the archives. Giving it to private collectors – like, say, the Illusive Man, or even any interested faction of capital-c Collectors (as in “the enemies we fight throughout ME2”) – will enrich him and it doesn’t matter what that information might do to help make the galaxy ready for war against the Reapers.

Now, normally you would think this would lead to a Paragon/Renegade choice. BUT, instead, we’re going to have a variation moment for Ashley and Kaidan. They’ll deal with Shol, but in unique ways. Ashley, having marine hand to hand combat skills (as she mentions in character discussion during the first game), manages to get close and disable the volus’s suit enough to render him unconscious, while Kaidan uses his biotics to get the same result. So they get to have a moment of protecting Shepard (not necessarily “saving” them, because a volus getting the drop on Shepard would certainly be an embarrassing way to go, but definitely helping them sidestep a situation).

NOW’S the time for the Paragon/Renegade choice, dealing with Shol himself. He is an obstacle, considering that dealing with the legal claim to this cache of information leaves the door open to some sticky situations as a result – the last thing they need is to have anything that might be useful be wrapped up in the legal battle. But he DOES have a valid claim. Just unilaterally taking this place from him is questionable at best – even if Shepard’s still a Spectre, are they REALLY able to just come in and declare the location to no longer be the property of the individual with the legal claim on it? Likewise, there’s a lot of sticky issues with the idea of killing him – after all, as mentioned above, he does have a bunch of trained mercenaries on hand, and it’s reasonable to try and walk out without adding to the bloodshed. But if it’s made clear that his madness has overtaken him (which, I mean... it kinda HAS), then there’s room for the Citadel to be able to legally seize his assets, including his claim on Klencory and its vault. But this still means institutionalizing a person because they’re inconvenient.

That’s the choice – institutionalize Shol and seize his assets, despite the subsequent legal battle that he and his kin can draw everyone in to, or cut through the red tape preemptively, kill him, and claim what amounts to squatter’s rights, since with him dead, no one else is there to take charge of the archive, whatever it contains. Ashley/Kaidan are going to say they have no intention of letting Shepard kill Shol (because that would certainly always be a line for them), but there will be a Renegade interrupt to take that choice out of their hands anyway, and Shepard can make an argument that, if they don’t do SOMETHING, Shol’s men will come in and try to kill them, while if he’s dead, that denies them their paycheck (because for one time ever, can we just have the mercs give up and run off once the source of their paycheck is dead?!). Shol certainly isn’t going to tell them to back down, and “survival instincts” have never been at the top of their hiring priorities.

Ashley/Kaidan will have some words about the decision Shepard is making, but they can be swayed to understand Shepard’s motivations, at least, in the moment, though any disagreements they have are more in the “waiting for a more opportune moment” than “what you say goes, Commander.” More on that shortly. With that matter resolved, Shepard calls for a pickup.

Back on the Normandy, Shepard and Ashley/Kaidan are having an informal debriefing in Shepard’s cabin (save the jokes for the end of the scene everyone, we’ll get to that). They do a brief discussion of what the likely followup will be – the fact is, the Reapers are probably already uncomfortably close at the moment already, so there’s not likely to be much opportunity to examine this place too much before they show. Still, every little bit is going to help.

The big thing is going to be how Shepard’s handled things through to this point. This was an accumulation metric (in the same style as Aria showing mercy on Petrovsky or not during Omega), so the various Paragon/Renegade decisions through to this point will lead to their reaction. Paragon Shepards get Ashley/Kaidan acknowledging that Shepard is still someone they respect, and that perhaps this whole Cerberus alliance was one of necessity. Renegade Shepards are leaving them questioning what Cerberus is doing to them, and are they really the person that they once were.

That leads to the question of where they stand if they’re a romance – like with Liara in Lair of the Shadow Broker, this leads to a romance rekindling, but only for Paragon Shepard, because that’s the version that has shown that Shepard is still the person they followed to hell and back, still the person they loved.

Yes, while I try and offer reasonably similar options for both Paragon and Renegade versions of Shepard, this is dependent on that. Because it’s about setting their concerns at ease, about listening to them and allowing them to be angry and upset and come around. Renegade Shepard will have shown they don’t care about that, so why WOULD Ashley/Kaidan take them back?

Anyway, insert “debriefing” joke here.

And, y’know, a reminder that, in these DLCs I’m writing, we’re going with the assumption that Ashley and Kaidan both were bisexual romance options back in the first game, and it’s an option to rekindle for both gendered Shepards.

After the interlude (however it plays out), there’s the discussion of what’s coming next for Ashley/Kaidan. They’re returning to the Alliance, of course – with Shepard’s official ties still in limbo, taking them out of the official chain, Hackett has made them a floating troubleshooter at points where he suspects Reaper involvement in some fashion, be it machine cultists and husks, Collectors, or what have you. However they feel about Shepard, Hackett is still seeming inclined to trust them on this, so they expect that the intel will still reach Shepard as they do their work. They make it clear they expect this to be the calm before the storm, and when the fight starts, they know Shepard will be on the front line. Paragons get them promising to back Shepard up when the time comes, Renegades get them hoping that they’ll still be on the same side when that happens.

Post Game Followups:

So here’s the part where, typically, I’d talk about how this impacts War Assets for ME3. But this is giving the ability to resolve the major Ashley/Kaidan element of ME3 before we even get there (like we should have in the first place...) and that means we have to deal with that. To that end, I obviously have left the door open for the lack of trust by way of Renegade Shepard, and that’ll go through things as they are, the same as if this DLC didn’t exist (I mean, it doesn’t exist anyway, but... You know what I mean!). The alternative for a Paragon completion is that there will be a distinct lessening of the tension between Shepard and Ashley/Kaidan in ME3, leading to some serious dialogue changes on Mars – more of an acceptance, instead of distrust.

I’m also thinking that, with the air cleared, there’s no moment of hesitation among them during the Citadel Coup, that it basically defaults them to trusting Shepard, regardless of how much they interact with them in Huerta and “clear the air” of Horizon. After all, Shepard already allayed their concerns with their practical involvement, gave them the chance to see them as the person they were, rather than the possibility that they were no longer the person they trusted. This changes the dynamics of their earlier interactions, and if you have rekindled the romance during the debriefing (no I’m not going to stop using that gag), then the dialogue will have more romantic undertones, the conversations more focused on matters of both them and the future together, trying to figure out if they even have a future, what with the invasion commencing, let alone where they stand with one another in that future.

I feel like I should have more done here, really, but I am really, genuinely TRYING to remain within the basic structures of the games as they are with this, because I totally could trash them and rebuild them from the start, but that’s defeating the purpose of this as additional material to the games, so that’s the most I’m offering on that. I want to do more, Ashley/Kaidan deserve a bigger and better role in ME3’s plot (which I’ll be trying to address further when we get to the ME3 hypothetical DLC, but that’s not here), but I’m trying not to totally rewrite ME3 as it is, that would probably be its own long involved project, and this is already ongoing. The original version of events can still be involved in the game proper, as the Renegade version, but that won’t be the only version any more.

Oh, and, we’re getting some war assets out of the place we discovered. That feels like an afterthought here, though. This has been about Ashley/Kaidan and their relationship with Shepard, more than anything, and we really did deserve this as much as Lair of the Shadow Broker.

The Omega Heist

An old contact of Miranda and Jacob’s draws them – and Commander Shepard – back to Omega, where, with the merc bands decimated, an old threat they thought they’d dealt with long ago has reemerged. With Commander Shepard’s help, they must try their utmost to put this genie back in its bottle before it’s unleashed on the whole of Omega – and, potentially, the rest of the galaxy!

(Post-Horizon)

Considering Omega’s status as the dark reflection of the Citadel, the answer to it in the Terminus Systems, I just really want to explore it some more. Tie in to that, Miranda and Jacob have great prominence when they’re literally your only crewmates, but the second you start picking up the rest of the crew, they start falling off the map. Given that they’re our viewpoints into Cerberus as an organization, this feels like a mistake. Cerberus spends both the preceding and following game as enemies, and I think we need to spend some time at exploring why either of them would even fall under Cerberus and the Illusive Man’s sway.

It begins with Miranda asking to speak to Shepard. I’m gonna assume that, considering the unlock pattern of loyalty missions, this is most likely going to be played post-loyalty mission for both of them, since they’re both the first to unlock. Just to firmly establish where the characterization is going in to this. So both of them are at a point where they’re starting to question their loyalty to Cerberus (hence why I’m considering it a default that, in particular, Miranda’s loyalty has been obtained).

She’s heard from a contact on Omega about something that she wants to get Shepard involved in. The meeting moves to her office, where Jacob joins them. This concerns a mission they’d both undertaken shortly after their first mission together (see Mass Effect Galaxy, the mission Jacob talks to Shepard about having lost his faith in the Alliance over). They had an assignment to dispose of a biological sample – their assignment had been not to ‘get curious’ and investigate what it was, just get rid of it. The orders had come directly from the Illusive Man, so they were actually obeyed.

Jacob had been suspicious of the whole thing – when you’re moving something that you’re not supposed to investigate, it’s usually something that could blow up in your face. He opted for a little extra security monitoring, with Miranda agreeing and having kept track of it. That’s why this is now coming to her attention. They still don’t know what this was, but they can’t imagine that it getting let loose where any idiot could stumble across it would be a good thing.

So we’re returning to Omega. Personally, I’m disappointed that there’s no real change in Omega as ME2 carries on, even though you have to both clear out merc gangs and an active plague in the course of the game – recruiting Garrus and Mordin are mandatory quests, after all, so their joining the crew, their recruitment missions, these have to happen regardless of anything else Shepard may decide to do. So we’re getting another hub area on Omega besides Afterlife and the Gozu District market place. If Omega is the Citadel of the lawless Terminus Systems, then it can certainly fit in more of this (plus give more life to this place that, we know, will have people threatened come ME3 and the Omega DLC there).

Our central hub sector will be a safehouse established near the Kenzo District (picked because beyond existing as where Garrus had his run-in with Garm, we know nothing specific about it, so it can be used however the plot needs it to be). Under the circumstances – meaning “since we stored dangerous material on Omega without even speaking with Aria on the subject” – the idea here is stealth. Shepard, Miranda, and Jacob arrived via a transient shuttle rather than via the Normandy, and did so hopefully with some element of stealth. It’s not that Aria is going to be a threat here, just that she wouldn’t be happy learning about this going on under her nose and Cerberus is trying to cultivate some of her resources (sort of tie-in to the Cerberus takeover of Omega come ME3).

Their contact is my chance to get that female turian I mentioned a ways back into things – a turian trader who I’ll name Naevia (what, I’m a Spartacus fan and the reference makes me smile). The biological sample has fallen into the hands of a gang that’s trying to take up the space left by the biggest gangs of Omega losing their leadership (I’m thinking one of the gangs from our last edition of hypothetical DLCs, from “The Clean-Up,” because continuity!).

It’s around here that Shepard does ask the most important question on the subject that I think we’re all thinking – why the hell was this dangerous and hazardous sample kept rather than destroyed? Naevia admits she thought the same thing, but she was paid enough not to care, just to watch it. Miranda states that there was a possibility of using it for something in the future – this is a sign of her beginning to waver, because she can’t really justify the use of this sample, the fact that, though they’d been told to get rid of it, the “disposal team” had kept it, and were keeping it in a place with a population.

Granted this is a long standing tradition with dangerous science, but still, it needs to be called out.

The important thing is that it’s there, on Omega, and in particular when the station is already in the recovery process of a plague that targeted every race except humanity – there is still a lot of anti-human resentment on Omega, and the last thing that Cerberus should want is a human-spawned crisis breaking out (because no matter where the sample came from, a human organization, known to have a humans-first bent to it, was the group that stashed it here on Omega). Hence our presence.

We’re gonna have plenty of time to talk with Miranda and Jacob, so assume character conversations sprinkled here throughout (much as I cite it as reason that I don’t particularly care for their loyalty missions in comparison to others, that their loyalty missions also only have one ending, that once you start the mission, the only resolution is obtaining their loyalty, makes for a useful method of characterization trajectory here). This is here for the sake of exploring and deepening their character arcs, their division with Cerberus from the endgame, given that they’re both set against Cerberus come ME3, so we’re going with that.

We also get to spend some time with Naevia and getting a new perspective with the turians – she is a free agent, sort of like Vetra ended up being in Andromeda, in the sense that she’s a rebel to the status quo of turian military discipline. She’s looser and less rule-bound. She lives on the fringe of society and that shapes her reactions. She has no need for the turian rules of combat and prefers to take preemptive action – the rules of combat are a great idea in theory, when you have enemies who will respect them. But the Terminus is full of people who won’t. And, while she hasn’t been read into the Reaper matters, she is clearly picking up on the undercurrent between Shepard, Miranda, and Jacob.

Now if you’re assuming that this is leading to Naevia turning out to be involved in matters with this sample... Well, that’s definitely going to be a thing to follow, but let’s just keep going for now.

And yes, I have been cagey about what this sample even is. Remember, that’s because it’s a mystery even to Miranda and Jacob – they were still in a point where they were willing to listen to the Illusive Man’s orders without questioning them. The assumption was that the team they were giving it off to was a proper disposal team, and the failure of either of them to investigate it beyond his word. Y’know, the idea being they’re both starting to push themselves to look beyond the word they’re officially given by their boss and question him.

So… investigative work. We’ve already been over how in these summaries, that’s not where I focus on, not having a layout or anything to work with and such. So I’ve given the core ideas of character work and plot that plays out over the course of things, let’s cut to the climax.

The sample is being held by one of the gangs and a member of the Cerberus disposal squad. Because hey, look at that, a Cerberus agent went rogue and started killing all their guys, Commander Shepard, can you take care of that? He explains just what this sample is – a contaminant that can devastate a planetary atmosphere, hence why it was being kept on Omega, a space station. Of course, the problem with it is that it won’t discriminate and a rapid atmospheric dissolution will kill human lives as well. This is one of those things that it’s actually entirely justifiable that the Illusive Man didn’t want to use... y’know, if it weren’t for the fact that he still kept it, but...

Anyway, here’s where we come to Naevia’s sudden but inevitable betrayal, citing the profit to be earned – it’s easy enough to live on ships instead of a planet, so she’ll come out of this fine. Shepard gets the chance to shoot her with a Renegade interrupt, and look at that! She WASN’T betraying the team, just pretending to in order to slide a knife in the bad guy’s gut. It doesn’t kill him, and it still leads to a fight, but it’s easier if you don’t take the interrupt (because as much as I like the interrupt system, I think there should occasionally be consequences for taking a quick and reflexive response rather than the more considerate and thoughtful and examinative approach to a situation).

A multi-stage boss fight ensues – basic ground troops, interspersed with standard LOKI mechs, a YMIR mech joining the fight with reinforcements, and then a gunship. Maybe the gunship peels off midway and lets in another YMIR mech, just to really hammer the ‘boss fight’ element, or at the least let that be a higher level difficulty challenge. I mean you can only do so much with the mechanics of the game to create boss fights, right?

Anyway, Naevia is either dying, laughing at how her turncoat act was too effective, or she’s made it through with a few scratches and is patching them up as Miranda and Jacob are recovering the sample. Here’s the expected Paragon/Renegade choice of destroying the sample or storing it somewhere else – I can even see a reasoning for keeping in the idea of ‘once knowledge exists, it can’t just be destroyed, we need to study this to be able to devise a countermeasure.’ It’s a sucky one, for the record, but it’s a way to justify the Renegade stance.

This is where you see the culmination of Miranda and Jacob’s development. Jacob is open about wanting to correct their prior mistake of leaving this sample around to be used by anyone who might try to actually use it. No matter what, he sees no possible good coming from it and wants it destroyed. Miranda is conflicted. Her trust in the Illusive Man tells her that it would be right to hold on to this, it’s a weapon that could protect humanity if the aliens were to attack them – which is something that can’t be discounted as a possibility, considering the batarian hostility and the general aggravation of other races like the turians (see the previous Hypothetical DLC entry for more expansion on why I consider that a thing gets brought up). But she also knows that if this exists, then there’s a chance humanity can’t control it. She is looking to Shepard for guidance on this – she’s not turning to the Illusive Man’s standing orders here.

When the group returns to their safehouse, they find Aria there. Because this has been happening on Omega, and it’s her business to be fully aware of what’s happening on Omega. She thanks Shepard for disposing of that little business – if the sample was spared, she does imply that she knows about it, but, so long as it’s leaving Omega, she’s not going to be concerned about it. After all, she only cares about Omega’s interests. But, as a reward for what Shepard’s done for Omega, from the plague to Archangel to this (plus, potentially, dealing with Morinth, given that was the presence of an Ardat-Yakshi on Omega), she is offering a reward for Shepard – a penthouse suite.

Yes, I’m letting Shepard get an Omega apartment. I mean, okay, having one right before the Cerberus takeover of Omega come ME3 is not exactly the most prime real estate, but hey, Shepard deserves a place to relax, right? Plus it also comes with access to a special Omega market, a place where Shepard will be able to purchase any weapons or upgrades they might have been missed in the course of their missions (and any that get added through the DLC, including these). Because really, we should be able to have access to those things somehow, as in the game as is, if you miss it, it’s gone forever.

Anyway, Miranda and Jacob will also have follow up conversations when they return to the Normandy, discuss the way that things have played out and how they’ve evolved as people in the course of the game. Because as I said at the start, the two of them, in terms of their character development, kinda falls off the map in the course of the second half of the game. So they get a little additional content that helps fit them into the big picture of their character arcs.

Post Game Followups:

ME3: If Naevia survived, she’s an available war asset in regards to her underworld connections and such to send help Shepard’s way. If it’s kept intact, the sample also has some benefit for Alliance scientists in the study of reversing its effects and how to restore ravaged worlds. Also some additional content in the Omega DLC, though I’m not sure about the details of that right now.

And, y’know, since Naevia’s existence means that we have a female turian model built and developed circa ME2, this SHOULD mean that there are female turians scattered throughout both further DLC (as in ‘assume their existence in further installments, even if it goes unsaid’) and (because now they’d “exist” prior to the release of ME3) there would be numerous turian females in ME3 as assorted extras and such. Should go without saying, but I’m saying it. There will still be a few important female turian NPCs I introduce in further installments, but these are now part the standard background NPC collection.

Battle Scars

Alliance officers on shore leave have been disappearing from the Citadel with no trace. Ambassador Anderson suspects there’s more to this than the standard dangers of a space station that’s practically its own world. Though Shepard is in a questionable position among the Council, they’re the one person Anderson can trust to solve this.

(Post-Horizon)

The Citadel being so limited a space in ME2 always bothered me. Y’know, I get the thematic idea, that ME2 was about exploring the darker underside of the galaxy at large. But I liked the Citadel. There was a lot about it to explore, all things considered – we’re talking about the galactic hub of politics and commerce. This really should be a major location, no matter the game. And as I’ve said elsewhere, there could be a whole game set on the Citadel with room for more. So yeah, we’re doing this here, exploring an area of the Citadel that we never got to see before.

There are Alliance officers going missing and Anderson gets Shepard involved. Obviously, the synopsis covered that bit. The idea here is that we’re going into areas of the Citadel that normally, Shepard has no business in, and in areas that are more like vacation areas. You know what this means? It means we’re going to have non-combat segments, in the same vein as Kasumi’s mission. There’s gonna be an extended sequence of Shepard out of combat armor in this one, because Shepard is not being called on to be a soldier but to infiltrate and be seen as a civilian more than a combat fighter. (I’m thinking this is going to involve a new casual outfit as well.)

And we’re gonna say that this is happening at an exclusive resort, meant to be a location that’s relaxing – a resort on the Citadel, effectively. It’s primarily a place for Citadel-aligned soldiers (Alliance and other races) to recover after combat, a therapeutic place for soldiers to get treatment for their PTSD (think a place where they’d probably have sent the PTSD asari in ME3 to if there wasn’t an existential war on). It’s why it’s a popular place for these Alliance soldiers to be, and we’re also going to rate it as having the highest success rate as a psychological and therapeutic facility in the known galaxy (because, being on the Citadel, why wouldn’t a place like this have a reputation of being the best, given how the Citadel is effectively the metaphorical center of the galaxy) and it’s a bit of a mixing bowl of Citadel culture, which allows for the rest of the party to come along.

I’m going to stick with mandatory companions here for a handful of reasons – one, Shepard’s got an eclectic band, and I feel like if they walk around a Citadel resort with Grunt and Legion, for example, that’s probably going to blow their cover. For two, I like the idea of mandating some pairings and developing the relationships more. Last entry was about Miranda and Jacob. Here, I’m thinking... For a resort, I honestly lean towards Samara and Kasumi, characters who, respectively, can blend in with “high society” and can pass through unseen by others. Kasumi, of course, does her cloaking to accompany Shepard – she does prefer going unseen. Samara, though, is playing at being a Matriarch – given the setting, let’s say that she’s pretending to be looking for a facility for her rambunctious daughter who is ‘disgracing’ the family name – sort of playing on her own history with Morinth (because Samara’s method that way), while still being a role she plays.

Yes, I’m aware that Kasumi is a DLC character, not everyone necessarily has her, but hey. If you’re playing DLC in the first place, you’ve probably collected other DLC, particularly a new companion, we’re just gonna roll with it, because I’m not going to develop an alternative without her, so consider them connected – I don’t know, say they got packaged in a sale together or something. This is all hypothetical in the first place, remember, does it REALLY matter that she’s not in the base game?

Shepard, of course, is going in as what they’re looking for, an Alliance officer looking for leave. This way there can be a solo segment, and the tension of “will Shepard run into trouble they can’t handle on their own before their companions come to their rescue?” Obviously, there does have to be some addressing of Shepard’s fame and notoriety, but it’s not like Shepard’s not doing other things that are putting their famous mug in places they shouldn’t be, particularly when it comes to involving Kasumi (The Hock heist, anyone? How, exactly, was the most famous human in the galaxy supposed to keep a low profile there?). So we’re just gonna handwave that, like you do.

As always when these are investigative sequences, I’m just gonna gloss over that part for the sake of convenience – the basic facts are that we have a lot of suspects with no clear motive at the outset of things. You know, get your basic archetypes wandering around – look at any show that features a recovery center, you’ll find them, I’m not gonna go into detail on the incidental characters.

The trick is that Shepard is going to be doing their initial investigating solo – they have to get entrenched before their companions show up (given that Samara’s cover is going to have her supposedly only there to look the place over, rather than sign herself in as needing “treatment” and Kasumi is going to be cloaked, searching for the things that Shepard can’t get access to – yes, for the record, I’m setting up for a Big Damn Heroes moment, I would think that would be obvious). They’ll meet with the above mentioned archetypes, learning details.

The details are more for the flavor – how well does Shepard figure out the scheme (which I’m getting to) before the villain shows up to explain in a monologue? Because, y’know, what villain doesn’t love explaining their nefarious deeds with a monologue? Shepard figuring out more and more of the plot before they confront the bad guy will impact the way the end fight goes down – figure it all out, you can sidestep the big final confrontation, figure most of it out, the fight’s significantly easier, stick to the bare minimum, it’s the hardest it can be.

This of course gets Shepard caught by our villain of the piece. So, what’s going on? Well, it’s an attempt by one of the doctors at this facility at cooking up the same shady shit Cerberus has, in the form of cyborg soldiers – the soldiers who have been kidnapped have been converted into these cybernetically enhanced soldiers. Problem is, they’re mindless automatons – higher brain functions didn’t survive the implantation process. So while these six million credit men are superior soldiers for combat, able to shrug off the kind of injuries that would cripple any other organic soldier, probably even have like nano-tech that speeds up any kind of healing and recovery process, they’re ONLY for combat, there is no human mind, no individual still alive in these shells – they’ll do as ordered because of the computer control chips in their heads, but only because those chips fire off the impulses needed.

“No glands, replaced by tech. No digestive system, replaced by tech. No soul. Replaced by tech. Whatever they were, gone forever.”

This is a point that I wanted to bring up in Miranda’s chat about “disposable soldiers” – the concept of soldiers being disposable is the kind of thought that cleans up war, something that the very idea is MEANT to be “dirty.” When you have these disposable soldiers, something that replaces the flesh and blood troops, you’re now in a position where going to war is not a difficult choice – you’re not sacrificing anything in the fight, because your best and brightest are safely out of the line of fire. When you don’t fear war, you’re going to turn to it as the first option, not the last. And, as pointed out by the use of Mordin’s quote above, at some point, your “disposable soldiers” become exactly what the Collectors are, mindless automatons who perform the duties of their masters, and, because of that distance, their masters’ own humanity erodes, because they never have to get their own hands dirty, while their servants are incapable of arguing with the orders.

This is when we get the aforementioned Big Damn Heroes moment, where Samara and Kasumi rejoin the party – since I’m assuming Shepard is being restrained at the moment, we have Kasumi Overload the controls and get them loose while Samara covers her by biotically handling the guards (because there are always guards).

So we get to that ending of how the boss fight can go down – Shepard gets to argue about the whole “disposable soldier” thing, bringing up and expanding on the above argument. If they uncovered all the details of the plot prior to the point they’re found out and taken captive, they can talk the doctor out of the inevitable fight (they still can choose to fight, of course, but the option is there to avoid a fight altogether) and have them shut down the project, effectively take their “prototypes” of these cyborg soldiers off life support and let them all die out (because, again, it’s the cybernetics that are even keeping them alive at this point), they can try and fail because of a lack of information, or they can actually agree with the idea, just that this doctor isn’t the one to be controlling them – it’s a valid choice, after all, to have a viable standing army to face the Reapers with.

I did debate making that last an option, just because I am morally opposed to the idea, but I am trying to respect that the Paragon/Renegade division was meant to be more than “goody-two-shoes versus puppy-kicking-monster,” and approach it from a level of “win with morals versus ends justify the means” – if you’re looking for something that can face the Reapers, like Shepard is aiming for throughout the trilogy, then a pragmatic approach says “we can use this resource, and I’ll deal with the moral weight of it later.”

Thinking about it, this does kinda make a flaw of the Kasumi-Samara team, because I do struggle with seeing how they’d just casually go along with Shepard saying “zombie cyborg army? Sign me up!” But maybe the Justicar code says that, regardless of origin, their existence has purpose and use, while Kasumi is horrified at the idea of using – and defiling – the dead like this. Basically, I want there to be a shoulder angel-devil scenario here, but I may not have selected the right companion pairing for this. Still, I’m not going back and rewriting this to make that work, so we’re just going to acknowledge that and move on – they’re both on the team, and there are other Renegade choices Shepard has available that they both just accept, so we’ll accept that.

And, y’know, I have a personal preference for Paragon at these decision points, and would probably stick to choosing to wipe out the zombie cyborg soldiers myself, and these are my ideas so I roll with what works for my decision making process, so nyah.

This still leads to the question of what, exactly, should be done with this facility – this is the head of the place we’re talking about as being responsible, with them out of commission (either being killed by Shepard or taken into C-Sec custody, depending on your choice), it’s entirely possible the place will be shuttered, or at least in chaos for a time, and that means all of its current residents are going to be kicked out – this is one of those “well intentions doesn’t change negative results” scenarios. Of course, Anderson will try to step in and do something, but... He can only do so much. Especially with having to clear out the devices and secret lab material and such, there’s a lot in this that just... is not going to have this place in a condition to be what it’s meant to be. Especially if things turned into a fight with the doctor and trashed the place.

Shepard themselves can only do so much – they can make a recommendation, but ultimately, there will be a board decision. They can offer a suggestion, a way for the staff to try and focus going forward, but it’s going to mean downsizing their care in some fashion – either they focus only on the immediately at-risk patients, going in the way of ‘if you’re not an active threat to yourself or others, you have to find somewhere else to seek treatment,’ or they limit themselves to just the care of a single species, because the psychological experts for multiple species is a resource drain.

And this one is NOT a Paragon/Renegade choice. It’s player’s best take on the subject, because there is no “right” choice in this scenario. Either way, someone is getting screwed over. You can hope sending the not at-risk patients won’t exacerbate their conditions, but you can’t be sure of that – especially when it comes to people who have been there for some time, PTSD and other conditions won’t just go away, they need to be managed and treated, and if you go from one facility and one medical professional to another, that can throw off your recovery. And you can specialize in the treatment and wellness of a single species, but what about the members of the other species? What about the “melting pot” nature of the Citadel and how, realistically, reinforcing those barriers between species only makes it harder for these species to get along with one another?

It’s a “no good choice” scenario, and I think it’s worth a discussion with Anderson at the end (rather than back on the Normandy with all the companions, just because I don’t think the game can really account for everyone there having an opinion). Though let’s also give a follow-up conversation with Kelly – y’know, the therapist – and let her have more to do in this game.

Post Game Followups:

ME3: If the doctor was taken in to custody, they’re among the Cerberus scientists during the mission on Gellix – Mister Illusive stepped in to get their work under his banner, and, like Gavin Archer, Shepard’s involvement eventually made them hesitate to do his bidding. If the cyborgs were kept on, they’re a decent strength war asset.

The Batarian Connection

A Cerberus vessel goes missing out near the batarian border. While the Collectors are still the first priority for Commander Shepard and company, the Illusive Man is concerned this may be the first stage of a batarian incursion of Alliance space. He tasks Shepard and company with recovering the missing ship. The batarians, however, have other ideas...

(Post-Horizon)

We hear a lot of talk about the batarians making slave grabs throughout the first two games, and the Colonist background has this as a part of the things Shepard has been through. But we don’t actually see it. And we probably can’t manage to see the absolute worst horrors of the batarian slavers, but that’s not the full point of this.

No, the point is to start showing another face to the batarians. See, we’re going in with the idea of the batarians slavers we’re after handing off the captives they take – of various races, though krogan and turian are not likely, given their own, more aggressive nature (maybe useful in gladiatorial rings... We might be coming back to that before these DLC are done), and the quarians aren’t going to be as numerous, that still leaves humans, asari, salarians, and other batarians. And we know from Mass Effect 3, having the Cannibals being introduced in the first segment of the game, the Reapers have access to a lot of batarian genetic material, so they’ve already spent a lot of time developing how they intend to repurpose the batarians into the servants they need to wage war in this cycle.

Codex material speaks of how the Collectors want certain specific types of people to collect, and that is going to be what’s happening here – while the Collectors main focus in the game is to gather up humans to turn into Reaper slurry, we’re also looking at the other races, because there’s a history of the other races being taken by the Collectors for various unknown reasons. It wasn’t clear if there would have been an intent to build additional Reapers out of the other races – an asari Reaper, a turian Reaper, etc. - or if they’d just be left to rot, possibly slurried alongside the humans and just put in the same shell. To build off the idea of “organic preservation” of the species who consist of a cycle, I’m going to assume that they would be fused into a Reaper of their own, though there’s room to argue they were going to just be pulped into the same Reaper or left as the Collectors of the next cycle. But my ideas, my interpretation of things. And if BioWare wants to fight my interpretation, hey, should have included it in the game.

So yeah, the batarian slavers we’re coming across were going to offer the Collectors more of those captives of various races and such. The idea here is to not just have a look at the horrors of batarian slavery, but also an upfront acknowledgment that the batarians do this to their own people as well. The crappy situation for your average batarian is reduced to codex and one-liners, so we don’t actually have this knowledge available for the common players, and this is a thing that needs correcting.

We’re also going to have an encounter with a different Collector ship (just to avoid too much of the whole “small universe syndrome” of the same ship dogging Shepard for two years – it wasn’t until ME3 and James’s backstory that I got the impression that the Collectors had more than the one ship, since they made this one ship out to be this major force). Because, really, if the Collectors taking colonies was something of a plan B when the Citadel didn’t open, then they should be readying themselves for more than just humanity to be taken.

Among the batarians is a sense of distrust – batarian propaganda says the galaxy hates them, and, because we get the slavers and mercs running around in the games, the audience is probably not inclined to disprove that theory (particularly if there’s a Colonist Shepard doing the run – because I say so, there can be plenty of statements from them on the subject that fit the background specifically, because it’s nice that these are all theoretical and I can throw in whatever I like). Still, the general idea is that Shepard does feel a moral responsibility to save them, even if, as in the case of Renegade Shepard, it’s just in the name of preventing the Collectors get their claws on them.

But, thing is, ME2 offers no ship piloting mechanic, and I’m not bringing that in. And, y’know, I still get war flashbacks of getting ambushed by Sith fighters in KOTOR. So that means that the Normandy heads off, Shepard ordering them to find help (we’re gonna say that this is taking place somewhere near the batarian-turian border, so the Normandy can go find a few turian ships – going back to my idea of “shaking up companions” concept, I don’t have any particular choices to go with Shepard this time, but this makes it almost mandatory for a companion other than Garrus to come along, since Garrus can sway the turians to come to the rescue of alien nationals – and this ship ends up crashing, with Shepard and companions still on board – as are the freed slaves.

And we’re not crashing on a habitable planet. Because while there’s the helmets and all, I feel sometimes like the franchise as a whole underplays how much the atmosphere of planets being conducive to life as we know it is kind of rare. So while the cargo hold, settled in the heart of the ship and surrounded by the various additional decks of the ship, makes it through, there are portions of the ship that have been vented into space.

And the Collectors are coming.

Shepard gets to make a Paragon/Renegade “inspiration” speech to the captives, recommending that they get to trying to save themselves. Paragon will get a majority on their side, Renegade only a particularly brave soul. This one would be the Paragon’s contact/coordinator, just so that I can have a clearly identifiable person to turn to. And, yeah, we’re punishing Renegades here, but here’s the thing about this – we have stolen people, taken prisoner, made into slaves, about to be handed off to aliens who are only known to the galaxy as kidnapping and experimenting on people who never return, and then crashed on a deadly planet, with their only shelter pocked with holes letting out the valuable atmosphere that keeps them alive. I’m sorry, but being an asshole to these traumatized people? Even in the name of saving their asses from said kidnapping and experimenting aliens, they are NOT going to be ready to take up arms and fight. Read the room.

So, it becomes a game of causing enough losses to the Collectors for them to retreat for the Normandy to arrive with rescue vessels. Cat and mouse combat, with interspersed dialogue with our batarian coordinator (Making a name up on the spot... Kahvahr). That’s giving the expansion on both him as a character, talking about himself – a political exile, he spoke out against the Hegemony’s attitudes and practices, that they are so isolationistic that the necessary trade with the Citadel races, trade that could reduce their reliance on slavery, is killing them, which led to him attempting to leave, an attempt that ended up putting him into the hands of the slavers he argued against, and he’s certain that the Hegemony’s leaders basically gave him up. Talk about the beauty of Khar’shan, as a planet and place, something more tangible for us the audience of this place that we never get to go – he speaks longingly of these natural wonders he doesn’t expect he’ll ever see again.

The aid of the batarians Kahvahr leads can offer some combat segments getting avoided, but I do want to include some elements of the Collector faction from ME3 in combat segments all the same, the Collector Captain in specific. Because these things never appeared in ME2, so let’s remedy that.

And our end boss is going to be some variant of the Collector drones we see in Paragon Lost, which are these giant sized Collectors. So they get some additional tricks and are a clear case that Shepard is now facing the worst forces the Collectors can throw at them. Because I figure you can give them some interesting additional boss tricks.

The turians arrive and the Collectors withdraw, so Shepard gets to pass on what to do with these batarians – treat them as refugees who are seeking asylum in Citadel space or ship them back to batarian space. Because the thing is... batarians in Citadel space are probably not going to have things pretty well. Like there’s a reason we see batarians on Omega but not the Citadel. And a lot of these batarians still have families in the Hegemony. So there’s a very real argument to the idea that they’d be better off going back. It’s probably bull, considering the Hegemony’s leadership (and definitely bull on the basis of the Reapers being about to steamroll the batarians in between games), but... It can be made.

And it also speaks to how well Shepard is responding to Kahvahr – Kahvahr makes it clear, batarian slaves tend to be those who speak out. How much good can they really do going back to the Hegemony? Sure, you can argue that it’s in the name of encouraging rebellion against the Hegemony’s leadership, but realistically? It’s signing a death warrant – if this attempt at silencing him didn’t work, the Hegemony will likely just go straight to killing him.

And maybe Shepard’s okay with that – the whole reason we’re doing this is because the portrayal of batarians through the rest of the series is almost exclusively them as an always chaotic evil antagonistic force. What do they contribute to the galaxy, right? But this whole thing has been to help paint the batarians in a new light – now, shipping these batarians back to their people isn’t a mercy but a death sentence. What can I say, I like that script-flipping. But, as always, it is a choice for Shepard, for the players. Because apparently, people who play these games like the chance to play the asshole. Fine, you can, but you’re definitely getting judged for it.

Post Game Followups:

ME3: If given asylum, a batarian militia will have formed, both the survivors of the crash and of batarian refugees, wanting to aid the Citadel forces, Kahvahr himself as an asset.

Shadow Dance

Shepard’s connections to Cerberus have not gone unnoticed. A Spectre – Vexx Liranus – has decided that they are a key component to Cerberus plans (not untrue) and that their capture or death would be useful in combatting Cerberus (definitely untrue). With a fellow Spectre nipping at their heels, Shepard has to face what should be a comrade in arms in a deadly game of cat and mouse!

(Post-Horizon)

We meet three other Spectres in the trilogy, and only one of them, Jondum Bau, in ME3, is actually an ally. This is turning that on its head – all things considered, Vexx Liranus should be an ally. After all, we’re talking about a fellow Spectre, working for the Council, and Cerberus IS using Shepard for their plans, so taking Shepard out would make sense.

It’s just Shepard is a good guy, working with Cerberus as more an alliance of necessity, rather than any ideological alignment. And while I’m sure if you had a chance to sit down and talk to another Spectre, they’d probably eventually come around to the idea, well... Where’s the fun in that.

So Vexx. We had Naevia above in “The Omega Heist” as our “first” female turian for the trilogy, though she does potentially get killed. So we’re gonna have another female turian here, just to really sell the “no fridging female turians” concept. She is a badass turian soldier, like I want a planet with an “r” name to say she had a major incident on so that she can be “the Raptor of [wherever].” Because I love alliteration. I picture her being voiced by Claudia Christian (who was a favorite of mine to voice a female turian back before we knew anything about Mass Effect Andromeda, and while I’m absolutely a fan of Danielle Rayne’s performance as Vetra, I still regret that lack, so I’m making this happen here).

As for the actual plot, we’re gonna start on a small waystation location. It’s a standard resupply place, in the vein of like those Fuel Depots or something, a place like the Citadel but smaller. Because I think that space stations are an underdeveloped aspect of the Mass Effect universe. Like in Star Trek, there are Starbases and Deep Space Stations (such as DS9). Surely the various militaries of the Citadel races are doing the same, building their own stations that act as refuel and resupply, as well as standard rest and relaxation – Spacer Shepard will talk about living on ships, but I don’t see a child actually being raised on military vessels. But a space station that acts as a rallying point and home base for a vessel? That I’ll buy.

So this begins with the Normandy pulling in to one of these types of stations. You know, a little bit of a supply run, something simple. Things do not go according to plan, though, because, y’know, why would they, we wouldn’t have a plot if they did.

It begins simply. They settle in for a resupply, Miranda suggesting that the operational crew get a chance for some break time, Kelly adding that crew like Rolston and Hadley should have an opportunity to contact their families. That’s how we get here. As Shepard proceeds to look through the market, we get other angles of Vexx monitoring and observing Shepard. Shepard will begin to get that feeling of being watched, and that’s when she makes her first strike.

Now, yeah, I say right off in the synopsis that Vexx is a Spectre, but in the story proper? This is going to be kept quiet for a while. Sorta like how Vasir gets this intro that kinda clearly marks her as someone who we’re going to have to fight later, Vexx is getting the appearance of being a straight up antagonist. Because in her mind, she IS an antagonist to Shepard. She just believes that she’s the protagonist of the story, specifically because of Shepard’s ties to Cerberus, coming to this place in a vessel flying Cerberus colors, operating with a Cerberus crew. In her mind, she has discovered a threat to the Citadel and the Council.

While I’m still on the “give the companions more of a role” train, in this case, we’re going to see Shepard cut off from the crew – they come under fire from Vexx, they give the command to evacuate the station, return to the Normandy, and get out until they give the signal. Paragon Shepard wants to minimize casualties, Renegade Shepard wants to handle this themselves – Vexx interrupts their leave? It’s on now.

This leads to a chase through the station, and finding that she’s gotten things pretty well set up for this chase – I figure at some point, Shepard comes across like a secured bunker she’d been using as a command base, finds logs that have been tracking them since they landed on Omega at the start of the game. (Timeline being what it is, meaning as variable as it is, I’m gonna say that this is taking place functionally around, say, the Collector ship mission.)

That discovery is also when her Spectre status is made clear. Now, while there’s a good chance that Shepard’s had their Spectre status reinstated (thank you Dad!miral Anderson), well, we still need a plot here. Vexx doesn’t believe Shepard’s claim to have Council approval – after all, she certainly can’t just casually check this out while on a mission, Spectres are supposed to function independently of the Council. And she’s pretty good with the “better beg forgiveness than to ask permission” approach – Shepard helping Cerberus, even as a double agent, is a threat (for a less competent example of why, see how Shepard helping Cerberus in ME2 leads to Conrad Verner preaching Cerberus values in ME3).

The hunt continues. I’m basically picturing this functionally working a lot like a lower-levelled version of Arrival’s Project Base level, just with like security drones and such, and Vexx popping in and out of combat range. This is a hunting mission, on both sides, and the idea is that Shepard (and, by extension, the player) should feel like Vexx or her drones might show up around any corner. If nothing else, call it useful practice and experience.

Now, I said before I wanted to avoid stuffing our first female turian in the fridge. While Naevia could survive, she also could die. So I want to guarantee that at least one female turian of prominence is introduced without killing her off. That means that we’re going to have to find a peaceful resolution, as well as an alternative that allows the bloodthirsty playerbase to be satisfied.

That means an outside agent, a third party, getting in on this. I’m thinking a krogan merc with a grudge and a krantt and a blood oath against Vexx he’s more than willing to extend to Shepard, the Spectres, and the Council – with Vexx, it’s personal, having tangled with her before, with Shepard, they’re in the way, and with the Spectres, they work for the Council, and the Council gave the go-ahead on the genophage, so hey, it’s a good day to be him.

This eventually leads to, after some three-way combat, Shepard suggesting a truce for the time being – the krogan (Vargan, for want of a name) is a bigger threat to them both at the moment, since he’s distracting them and endangering the station as a whole. Vexx sees the wisdom in this and is willing to work with Shepard.

This gives a little more time to explore her, now that Shepard can talk to her. Vargan’s grudge stems from her disbanding his merc pack a while pack – they had ideas similar to the Blood Pack and Clan Weyrloc (re: Mordin’s loyalty mission), just without the aid of any salarian scientists. Maybe they’d sought out Okeer (possibly part of the reason that Okeer became a “very hated name,” as Wrex puts it? I don’t know, I’m spitballing here). Whatever the goal, however, she managed to put a stop to it, enough that Vargan was stripped of his clan name – given the structure of krogan society, I figure that in doing that, a krogan loses all right to even attempt to mate with the females, a big blow to a proud krogan leader, basically leading him to a voluntary exile from Tuchanka. That he still has a krantt after that still speaks to his skill and prowess, but also makes it clear that these are his only allies in the galaxy.

Shoot-y shoot-y stuff happens, yadda yadda... We’ve been over how writing about combat in these write-ups is boring. End result, we learn more about Vexx, develop and establish her further, give her this likeable air now that we’re on the same side, and get to Vargan, taking out his krantt in the process. Now that he’s alone, he is ready to die. He got everyone loyal to him killed, that means he’ll never regain a clan name now. He wants to die.

Typically, Paragon/Renegade decisions are a clear binary of “good means letting people live, bad means letting people die!” But here, Paragon is understanding the krogan mindset – he wants to die because he will never have a place in krogan society if he lives. He got his krantt killed, so he will never be able to gather a krantt again. He will never have that trust again, and so his death is the only way he can have an honorable ending. Meanwhile, Renegade is saying “no, I’m not going to grant you the mercy of death, live with your failure.” And doing that will likely mean he will strike out and go on some kind of suicide run (indeed, I picture that result being a news announcement overheard on the galactic news points).

Because I like the idea of twisting the Paragon/Renegade assumptions around – the idea behind it is supposed to be more nuanced than “good = blue, bad = red,” but in context, a lot of the use of the system through most of the series is a lot more binary. So this is showing the flip side of both ideas’ general attitudes – you are saving more lives and respecting his attitudes and beliefs by killing him, while knowingly leaving a threat to others that you KNOW he’ll act on by keeping him alive.

Vargan defeated, it comes back to Shepard and Vexx. She’s more impressed by Shepard at this point. Paragon Shepard showed an understanding of non-human mindsets, and that more than anything makes her hesitate to paint them with the same brush as Cerberus. Renegade Shepard showed enough martial skill that she’s concerned that things will only reach the point of a stalemate, and likely do too much damage to the station for it to continue operation.

So she offers Shepard what she’s going to call a deal – keep to the Terminus Systems, like they have been, and she’ll let things stand as they are, with the added note that, if their Council reinstatement is genuine, she’ll also send a letter with a fuller apology after the DLC concludes. Yeah, it’s basically going back to the status quo, but one, I’ve been clear that my goal is to make these slot in comfortably with the existing game, and two, back to the in-universe justifications, it also means that she can prevent other Spectres from coming after Shepard – after all, we learned with Saren, the only real way to respond to a Spectre going rogue is to send another Spectre after them. If Vexx is in Shepard’s corner, it prevents other Spectres from coming after them later.

Probably should lead to a line or two in reference to Vexx from Tela Vasir, depending on when Lair of the Shadow Broker is played – alternatively, I suppose Vexx should have some comments about Vasir’s death as well, but I did say above that I see this functionally being roughly around the point of the Collector Ship in the timeline, and I always view Lair of the Shadow Broker as taking place after the Suicide Mission, and my write-ups, my timeline. Moving on.

Shepard has to agree to this, because see above: not fridging female turians when the trilogy is so bereft of them in the first place. We don’t kill Vexx. Because, really, that would mean that Shepard would have killed three of the four fellow Spectres they encounter in the course of the trilogy, and their numbers are said to only go to about a hundred or so. That’s a three percent fatality rate for the Spectres, and a seventy-five percent fatality rate of meeting Shepard. Someone has to think those numbers look bad. So, in accepting the deal, Vexx walks away and Shepard calls the Normandy for a pick up.

Post Game Followups:

ME3: Vexx has a sidequest on the post-Coup Citadel, regarding her work with the unifying of turian and krogan forces. Given Shepard having contributed, she’s asking them to join in her efforts. Complete that and she gets to be an asset and there’s a boost for both of those groups as well.

Underworld

Illium is home to many elite in the galaxy. It’s called the gateway to the Terminus Systems. But it’s equally a warning that there is as much danger in Illium’s shadows as on Omega. And now a high-profile Alliance official goes missing there. Ambassador Anderson asks Shepard to investigate as he keeps the disappearance quiet, and Shepard gets drawn into a web of conspiracy...

(Post-Horizon)

Illium seems like it should be a bigger deal, don’t you think? I mean, in ME2 we get three hub worlds in Omega, the Citadel, and Illium, but Illium is introduced after Horizon, being locked to (on console) disc two, and, while Lair of the Shadow Broker gave us more of Illium in general... Hey. Let’s explore more. Cuz now we can open up some new areas that can stick around and still be explorable after the DLC ends.

We open with a message from Anderson – “one of our people went missing out on Illium, I’d like you to look into this as a favor to me,” that sort of thing. This official is an ambassadorial figure from the Alliance to the asari (so, for the sake of a name, I’m in a Power Rangers mood right now, I’m gonna call her Kimberly Hart). She’s been attempting to shore up some diplomatic ties – I’d figure this would include matters like getting stronger ties between the asari in the name of gaining access to teachers for Grissom Academy, better relations in the name of biotic rights, that sort of thing.

Illium, being a free trade world, is a place where these kinds of negotiations take place without government oversight – I figure, based on things like the asari on Noveria in ME1 who wants to protect asari patents by getting Shepard to help her engage in corporate espionage, the asari government is extremely strict about their “secrets” while humans, who are still struggling to get a handle on what to do with first and second gen biotics, are willing to take on free agents more than like the commandos and such. Also, don’t want a repeat of Vyrnnus, so the turians are definitely out. It’s “asari free agents” who they’re looking at bringing on for this.

But with her having gone missing, that’s concerning – again, we have the asari being fiercely protective of what they view as their copyrights (which I do want to have a running theme here surrounding the idea “how do you copyright something that has this melding with the life it is bonded to?” – amps working as they do, mapped to biological systems as they are, this seems like it borders on trying to patent people in the process, since they’ll gain full maps of the people those amps are implanted in). Anderson wants Shepard to go in, since they’re off the official books.

Now we return to that earlier concept of mandatory companions. Because of the matter of biotics, this feels like a mission that Jack pushes her way in to – both because she’s been the subject of biotic experimentation, and she wants to ensure that this doesn’t turn in to the Teltin facility all over again, and to help give some foreshadowing for her becoming one of Grissom Academy’s teachers next game. Additionally, I’ll go with Thane as the other companion for this – he’s done work in Illium’s criminal underworld.

Now then, to our central hub of Illium. We’re on a different city than Nos Astra, but it’s going to have a similar flavor to it, in the same way that Azure still felt like it wasn’t all that out of place alongside the trading center. Nos Vidia, I’ll call it (sounds suitably asari, anyway). It’s not as major a hub of intergalactic trade and commerce, meaning that Shepard and company are going to stand out in the crowd.

This is also one of the more “crime” areas, where the black market has moved in. We have Eclipse symbols on the wall and, while they’re not wearing the uniform, many of the people around here are obviously in the gang. Which also makes Shepard stand out. Thane, however, manages to bring up a former contact, someone who has been able to stay alive this long, meaning they’re skilled enough that they’ve survived.

The contact is an asari I’m gonna call Kassria. Kassria has picked up some Eclipse chatter that references our missing ambassador. That means Eclipse has her, but it’s not clear so much if her being taken is because of her getting in the way of Eclipse as a gang or if the Eclipse are working for some asari company.

We pause for some talk about the various asari copyrights, explore that conversation, with Jack having quite a few words on the subject of trying to make people property. That kind of thinking creates situations that create the same kind of science as Teltin. Thane offers something of the drell perspective – he’s the one who argues that he was raised and trained as a weapon for the hanar, and that he was not responsible for the lives he took. Who owns the abilities, the user or the one calling for their use? (I mean, there’s an obvious answer, but Thane’s bringing up the alternative to this – the people who are broken down and made into weapons at the hands of others.)

Like actually, let’s make that aside a point of having Jack and Thane – in Jack’s eyes, Thane’s attitude towards the people he’s killed is much how Cerberus would have wanted her to have ended up, as a weapon for them to point, pull the trigger, and give no concern for the ways that it impacts the person who acts because of that order.

It’s the same argument that we have with Miranda – the idea of “disposable troops” does not make it a matter of saving lives, just a matter of how war becomes easier, having these weapons to unleash upon others with no risk to the people who are supposedly being protected by them. It’s a way of absolving yourself for creating slaves by giving them some higher purpose.

This really is going to be a turning point with Jack’s arc proper, with how it leads to her being a teacher, because she wants to protect the young biotics. It’s not just about her protecting the kids at the Ascension Project from ending up tortured like the kidnapped victims at the Teltin facility. It’s also about reclaiming and maintaining personhood.

And while it’s hard for me to really give the separation theory Thane speaks of (we ARE going to come back to issues of the drell in general a few DLCs from here, so consider this to be foreshadowing and set up for that bit), I’m going to try and offer his point of view – that of “if you hone someone to only be a weapon, to only look at the world from that perspective, is it really on them as an individual that they proceed to see the world from that viewpoint?”

Of course, yes, I’m aware that the inherent flaw of ALL of this is that we’re not talking about drell youths giving themselves up to the hanar in the fulfillment of the Compact or with “different brain structures” to humans. It’s the tangent that they end up on because they’re along for the ride, and Shepard eventually has to get them back on track – finding Ambassador Hart. Whether or not the asari corporations are intending to use people as weapons, the Eclipse sisters presently have her held captive, and this means staging a rescue operation.

I want to take this chance to get a better idea of Eclipse’s organization (which, by extension, showcases the ideas that are moving the other merc gangs in the series). Like, what goals do they really have – Blood Pack are basically chaotic berserkers who want the world to burn (which, fitting, considering the general krogan mindset following the genophage and the vorcha having a complete lack of survival instincts because they never needed to evolve them), while Blue Suns have the veneer of respectability, acting as private security. But when we meet Jona Sedaris in ME3, she’s a raving psychopath, ready to kill anyone in her way. So what does the Eclipse gang want? I mean, besides the obvious of money.

Kassria is a former Eclipse sister, so she offers this insight – Eclipse doesn’t even really know itself. The non-asari members are almost leaning towards biotic extremism, given how the other races tend to mistreat and look down on the biotics among them, which makes them angry and want to lash out at those who’ve hurt them. Meanwhile, the asari who join in are often driven by other motivations, given that all asari have biotics – some are outcasts (purebloods, in pureblood relationships, or people with the Ardat-Yakshi mutation – let’s just assume Samara will have shared about her loyalty mission by the time this mission is unlocked so we don’t have to have the characters explain this to Shepard), others are maidens looking for glory (think Elnora the mercenary from Samara’s recruitment mission), some are obsessed with killing (like Sedaris), and some are just looking for a purpose.

She suggests that, if given something better, Eclipse might be a valuable asset for Shepard – not just in biotics, but also in their mechs. It’d be something to use when the Reapers come calling, not that she knows about the Reapers, just that she can figure that whatever Shepard’s up to, they’ll want an army at their back (because we’re still ME2 here, so this means we don’t know that Aria will be assembling the merc gangs under her banner).

This leads to an assault on the Eclipse base and trying to reach Hart before anyone proceeds to try and kill her or worse. As we continue, we find out that there is a high-ranking Eclipse member among this group – Jona Sedaris.

Yes, that’s right, we’re going to be responsible for her getting locked up come ME3. Obviously, this does mean she’ll survive the inevitable conflict and boss battle, but hey, we’re gonna have other things to deal with in the final analysis, so hold all questions to the end.

The Eclipse sisters and the techs with their mechs are heavy throughout the place, but eventually, we reach the place they’re holding Hart. She’s been roughed up a bit, but she’s alive. She’d made contact with an asari firm who’d claimed to be willing to trade some “asari patents” in the name of cross-cultural cooperation, but Hart got suspicious of what was happening. Turns out, she was being used – the company (a minor company, not one of our major equipment suppliers from the actual games, that she had gone to them in the name of avoiding those big names) was going to give her access, only to revoke it and claim that she had stolen these patents. That would give them an opening to start consolidating biotic patents in a human market, because humans would now be running amps and implants with copyrighted asari material, and, by extension, that would mean the company would own those human biotics.

That, of course, gets Jack’s ire up, and she’s ready to tear the place apart – people aren’t things to be owned. Even Thane’s ready to join in – even accepting his claims of lacking a responsibility for the lives that his employers hired him to take (again, we’ll be digging deeper into this in the future), this is trying to force people to be under the control of this company – based on his reaction when Shepard suggests that the Compact between the hanar and the drell constitutes slavery, Thane’s definitely not on board with that idea. And even on Illium, a planet with legalized “indentured servitude,” this contract is definitely sketchy – but it would be just legal enough that the company leadership would be able to get their foot in the door, and make it harder for human biotics to be able to exist without “company oversight,” giving them access to the human biotics before they have a chance to stabilize their position in human society.

It’s some further asari haughtiness, the idea of asari like Erinya, the lawyer who holds the contract to the Feros colonists, that the asari are “better” than the other races. The asari in charge of this company are of the belief that only the asari “deserve” biotics, and want to keep all biotics in the galaxy under their control. These asari in particular don’t see any race other than asari as even deserving of evolving out of the primordial muck. Not a mainstream view, but one that we do have foundation for existing in the universe proper, and, let’s be honest, it’s not hard to imagine this being a thing anyway based on our world (We’ll touch on these themes in more detail later). And this idea, especially combined with the asari willingness to indulge in “indentured servitude” on Illium, if no where else, gets taken to its natural endpoint – they see human biotics as little more than pack mules, livestock.

Short step from there to going along with batarian or Collector ideas, but really, it’s not like we don’t know exactly where that endpoint is from our history.

Obviously, Shepard is a walking contradiction to those ideas, so combat is the only way through. Sedaris might be an unrepentant murderer, but we do still have to take her into custody – this is where Kassria comes in, taking her down and intending to hand her over to the authorities in the name of getting a slice of the Eclipse pie with her out of the picture. It won’t be a clean takeover, which will justify why Sayn is running things for Sedaris outside of prison instead of Kassria (who would DEFINITELY just leave Sedaris to rot and probably arrange an ‘accident’ for her), but it’s getting her more power.

As for the company, they’re JUST on the side of legality – the efforts of Eclipse on their behalf were by way of verbal contracts, and no lawyer on Illium is going to take the word of a mercenary over those of these high-ranking business officials. Hart swears that she can make things hell for them, lose them some very lucrative contracts with the Alliance. Thing is, that also makes her job all the more difficult, now that she’s been found out having attempted to make these grey legality ties for the sake of “getting an edge” in the biotics market – they have the resources to make this a fight that, meanwhile, would set the cause of human biotics back. (Which, as we’ve been over in other write-ups, actually is a bit of a thing that has some deeper ties in to the overall universe that the people of this setting are still working on figuring out.)

The Paragon/Renegade choice here becomes the rather obvious “do we take the option that handles this cleanly but lets the bad guys escape responsibility, or the messy alternative that may not even get the result we want?” choice. Because the thing about asari litigation is that they can afford to tie things up for decades without concern for the “short term” consequences. So if this DOES go to courts, they can wrap things up and keep them there for a long time – which will impact how things go for the human biotics, the whole idea of ‘owning’ people because they have these abilities. Because then their legality, their agency, their right to choose for themselves would be being litigated, and being done so in the court of aliens.

It doesn’t feel GOOD to me to have it left like this, honestly, but I don’t really see this as something that is supposed to have a conclusion that feels good – we’re talking about issues of corporate ownership of individuals, and the truth is... that exploitation just goes on, it doesn’t resolve itself with a few showy displays of violence. It gets caught up in red tape and paperwork, and people lose, even as they win. And the point of this has basically been, at its heart, to show that the “underworld” isn’t the black and grey markets that scrounge a semblance of society. It’s the businesses who will crush people underfoot then complain about the mess they stepped in. The design of a lot of the locations introduced in ME2 had this cyberpunk dystopia look to them, but only really focused on the criminal gangs – the core of this is approaching the white collar criminal element that was not shown off as much, how it encourages both further street crime and the depersonalization that comes from treating humans as a commodity.

Jack is pissed either way because this is all kinds of bullshit – it’s Shepard who points out that as angry as Jack defaults to, this is, for once, her being pissed at something beyond herself, where it’s not just that she wants to cause mayhem, but that she wants to make things different for others. To do something to protect future human biotics, kids who are in need. It’s her actively wanting to find a way to make a different, not just chaos.

As for Thane, he is still drell, still a proponent of the Compact (again, we’ll be coming back to this issue), but he does understand how easy it is to see something ostensibly done to the benefit of people turns around and is used by malicious actors to take advantage of them. It’s one of those things that he certainly understood in the abstract, but it’s another thing to see in practice. He leaves it on the note that “this has given me much to consider.”

As for Ambassador Hart, she knows that either way, she’s tanked her chances for getting the instructors that she’d been hoping for. Basically, the diplomatic ties she’d wanted from the asari government are off the table, given the combination of asari tied to the company and just general political embarrassment at the fact that all of this even happened – they want to ignore it, paint things over in pastels, and she is a living embodiment of the event to the asari, able to bring up the reality at a time of her choosing. The asari would rather that this go away, rather than have this constant reminder. Still, she’s grateful for Shepard’s rescue – the Eclipse might not have actively been planning on her death, but it wasn’t a good position. And, at this point, she can at least salvage a career going forward. Maybe not with the asari, but there’s a chance that relations with the turians have thawed out some.

Post Game Followups:

ME3: The fate of the company plays a part in War Assets – being tied up in legal red tape, they’re not able to contribute to the war effort, or, in a magnanimous show of “inter-species cooperation,” they’re sharing some patents with the other races. Additionally, Ambassador Hart shows up for a sidequest after the Cerberus Coup, making another go at the effort, now that Grissom is gone and the human biotics are here – might as well make the effort to get these asari instructors anyway, and she wants Shepard to help her out with smoothing the ruffled feathers (since this would still be in that period of time where the asari are still trying to avoid joining the active war effort).

Also, while this wouldn’t really impact anything via saved game import, I also figure this would at least tie in to Andromeda, that several human biotics joined the Initiative in the name of getting away from the corporations who want to hold them as “patented property” and such. Probably would be a way to help at least make Cora’s arc tighten up a little – it’s not just that she thought she’d only be a “useful freak” as a human biotic, as opposed to an asari commando or an Initiative Pathfinder, but that in getting away from Citadel space, she’d be allowed to just be, to find out who it is that she is beyond her biotics, rather than have to have her biotics “registered” with a corporation who’d exploit them and her. Not sure how to incorporate that into Andromeda proper, but it’s something that would be acknowledged.

End of Part 1, link to Part 2 forthcoming.

#dg's hypothetical dlc #mass effect #mass effect meta #mass effect 2

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mistytpednaem · 3 years

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So, what’s up with Another Me?

Honestly, I tried to draft this post, but the mental block made me decide to just go for it stream-of-consciousness style. Which I hope doesn’t bode poorly or anything. But here goes!

The Past and the Present

As you may know, I’ve been at this for a while now! Since 2014, in fact. In that time, I’ve gotten through the prologue and... most of chapter one (fun fact: I do have the entirety of this story mapped out! We are transitioning into what should be the final scene of this chapter. Originally, I wanted to make this post - or something along these lines - once I finished the chapter, but I figured since the year was about to end I’d be better off doing it now).

Now, let’s not mince words: that is a long time. I have six chapters total (not counting the prologue) mapped out for this comic, and there is more I’d like to do beyond it (what I like to call Arc 2, or, as you may or may not know: The Part Where My Pet Character Marco Evangelisti Actually Shows Up). If I keep going at the current pace, I will probably not be done within my lifetime. So, if I’m aware of this, what gives?

... I mean, damn. There’s a lot I could point to; I was finishing my degree until 2016, and I suppose that takes something out of you. I have unreasonably high expectations for myself, as the people closest to me know. “2020 was a bad year for everyone,” I tell myself, before I also go on to say, “but even though updates slowed down even more this year, it’s not like they’ve been particularly speedy for the past couple of years, and I haven’t had that bad of a year anyway, so that’s a shoddy excuse.” And then some semblance of reasonable thought comes over me and reminds me my grandfather had a stroke in March of last year and passed away in early June of this year, and I’m like “I mean, okay, I guess I’ve been through SOME things.”

But lighthearted reflections aside, there are more actionable problems I have identified - such as, in an overarching sense, my attitude. My friends made me realise this some time late last year, and while I’ve been trying to work on it, I have to admit I’ve made very little progress: at some point, I developed a seriously unhealthy relationship with my art. Here is how my workflow has tended to go:

Start scripting update. I have a small readership, but that’s okay; I am grateful for every suggestion, I can work with this, and I AM building towards something that excites me.

Script done, regardless of insecurities. It’s time to start working on the actual panels. This sketch didn’t come out exactly the way I intended, but hopefully it still works (alternatively: this sketch looks promising! I am excited about this sketch. Sometimes, I do feel happy with my sketches).

Oh dear. I was hoping the lineart would help a little (alternatively: oh dear. the lineart completely ruined this perfectly fine sketch). Maybe it’ll still look alright with colour?

Oh no. I hate it, actually. I suppose I’m too sloppy; I should be more careful next time.

(Repeat for however many panels i have planned for an update, typically with mounting guilt the longer I take on each one, because I keep taking longer and longer and, to my eyes, there is no improvement.)

Well, as my friends keep reminding me, done is better than perfect. Let’s post it!

The update is posted to a small readership and a quiet response, which, again, is okay, but leaves me wanting for feedback that I cannot get because I am reluctant to spread the word for several reasons, one of them being that I’ve convinced myself my work isn’t good enough.

Rinse and repeat, with the process continuing to be slow - if not turning exponentially slower - because apparently when things make you feel bad your brain starts wanting to protect you from them.

Apologies if this is a little harsh, but it is genuinely the most sincere breakdown of The Whole Deal that I can produce.

The good news is there are things I can do about this! Not easy things, granted, as they tie deeply into a lot of the recurring neuroses in my life, but in theory, the more I embrace imperfection, and the less I worry, the faster I should be able to work, and I should start getting some serotonin out of the whole thing again. In theory. This is not the only issue, however, and I have good and bad news about the other issue I’ve identified:

I don’t think the forum adventure format is working in its current shape.

It’s not about the suggestions - I love working with suggestions! Reader interaction is fun, it’s already shaped a good number of things and I hope it continues to do so. It’s more of a matter of visibility. Tragically, forums are not the most In Vogue things these days, and that reflects itself in, well, poor visibility. I’ve tried to remedy this by allowing suggestions through MSPFA, Tumblr and Twitter as well, but honestly, it hasn’t helped much. I think I’ve only gotten one or two suggestions through MSPFA? And don’t get me wrong, I’m sure this is in great part because of my passive role in getting the word out! But it’s all contributing towards this strange, shrinking spiral of a feedback loop.

The good news is that, since I have identified this problem, there should be an actionable solution. The bad news is I’m not quite sure what form that solution should take just yet.

The Future

Whew, that was a lot. So, what’s in store for 2021 and beyond?

Well, er, like I’ve implied, I’m a little unsure. But that’s my default state of existence, so let’s go over what I think.

When I finish chapter one, I would like to find a proper hosting place for AM. As I said, I don’t think the forum thing is quite working out, and MSPFA is a wonderful website, but I feel AM has little to do with most of the content on it beyond the second-person narration and the script-style dialogues. Whether that means a change in format is needed along with the change in hosting, I’m not sure; I would like to keep the whole “one panel per page with text underneath it” deal, which... should be doable on most places, but in this current year, I’m frankly not sure how it would come across, haha.

(I’m also not sure what this hosting place should be, mind you; potentially a wordpress blog with a layout tailored for comics, but drawing isn’t actually my day job, so I’m not sure how viable paying for a domain name might be. Or hosting, for that matter, should I need it - but imgur has been friendly enough of an image host so far.)

What I do know is that I want to keep the suggestions, even though I’m not entirely sure how well that will work without a forum structure. Comments on a post, perhaps? Maybe. But we can’t forget that this doesn’t solve one of the other big issues, which is my reluctance to advertise. And there’s still, you know, my unhealthy, unreasonably high standards affecting my entire workflow.

... But that all kind of comes back to one thing, doesn’t it? The fear of taking the plunge? That’s what I need to overcome. Plans are a good first step, but they mean nothing if I don’t act on them. Which is part of the reason I’m talking about all this - so people can hold me to my plans.

(Plus, like, offer feedback and opinions. That’s very valuable too.)

This whole Future section is a whole lot more uncertain than, I think, even I hoped for when I started writing this post. But I hope what I’m trying to say comes across in some kind of way - not just in the sense of this being elucidating (which, don’t get me wrong, hopefully it is!), but also as far as conveying my feelings to my friends and readers is concerned.

I’m going to keep trying, and I know I’m a little lacking in the Doing department, but now you all know what’s been on my mind. Thank you all for the support, stay safe in These Trying Times, and hopefully we can all keep growing together.

#another me

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thedeaditeslayer · 4 years

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Exclusive interview: Bruce Campbell is having a renaissance.

Here’s a highly recommended interview which discusses what Bruce Campbell has in store for fans in the future.

Bruce Campbell is experiencing a creative renaissance, of sorts. In a recent chat with the actor, he discussed a return to his horror roots, cutting a comedy album with Ted Raimi and so much more.

Bruce Campbell hasn’t been idle during his time in self-isolation. The actor has been experiencing a creative renaissance of sorts. So, we figured now would be a perfect time to reach out and get some of our burning questions answered.

With so much uncertainty in the entertainment industry at present, rumors are running rampant. We gave Campbell a chance to clear the air so to speak and address some of the myriad of questions that fans have regarding Mortal Kombat 11, the latest Evil Dead incarnation, Ripley’s and whether or not he will work with Sam Raimi in front of the camera again.

The actor also surprised us with some monumental news. He will be returning to his horror roots with the sequel to My Name Is Bruce as well as several other projects that he has on his docket including a comedy album with one of his closest friends.

Get comfy, grab your favorite beverage and let’s catch up with Bruce Campbell.

Mortal Kombat 11, Ripley’s and the State of the Industry

1428 Elm: Thanks for speaking with us, Bruce. It’s always a pleasure. We have so many things to discuss. Recently, a site came out and said that you were definitely going to be Ash in Mortal Kombat 11. It seemed like a done deal the way it was reported. Can you comment on that?

Bruce Campbell: I probably shouldn’t emphasize yes or no because I don’t know. I have not been told. If it is not through my agent or proper channels than it usually means its wishful thinking.

1428 Elm: Apparently, an email from Warner Brothers Interactive was sent to a well-known entertainment site and Ash as well as Army of Darkness was mentioned in it with the trademark from MGM.

BC: The reason why it may not happen, just so you and the readers can know this, a lot of time for legal purposes, that character cannot appear in other things because of the license. If you can’t make a deal, that character is not going to show up. So, we may have been talked to about it.

But I do know with MGM that handles the Army of Darkness licensing that they’re hasn’t been a discussion with them about it. They’re pretty touchy. We have to be careful of ownership.

I honestly don’t know. I think I would have heard something. It’s not like my agent books me without consulting with me.

Even if Mortal Kombat came to me and said they want to put me in it, you still have to make a deal. If my agent says, “Bruce Campbell wants a hundred billion dollars,” and then they say no, the deal is dead.

The answer is we don’t know. No point in beating around about that.

1428 Elm: You might not be able to discuss this but what’s going on with Ripley’s Believe It or Not!? Will there be a Season 2?

BC: We’re one and done. It’s not your father’s Travel Channel anymore. If I wanted to host a ghost hunting show, I’d be on the air right now.

Ripley’s was made for the older school Travel Channel like Drive-Ins and Dive Bars where you go to wacky places around the country. There is a big push for paranormal, mystery and science-fiction, Discovery type stuff. I think we just “out aged” ourselves.

1428 Elm: It would have been nice if the Science Channel would have picked it up.

BC: It’s all good. I remain philosophical about all shows that come and go. There are so many factors involved. You change executives and things change, companies get bought and sold and things change, ratings aren’t what you expected…

After this virus, we’re going to see what shape the motion picture industry is in. It’s going to be a wounded beast. Projects are going to go away.

You’re going to have fewer tentpole movies too. I am hopeful we’ll have a return to low budget filmmaking.

That’s what I hope comes out of it. Each studio will start a low budget division and spend the money wisely.

Number One on the Charts with a Bullet

BC (Cont.): In the meantime, what is nice, I’m finishing up a couple of projects. I’m hoping by the end of the year to put a book of essays out and a comedy album with Ted Raimi.

1428 Elm: A comedy album?

BC: Yeah, we finished it. I’m in post-production on it. I’m putting all the sound effects in now.

1428 Elm: That sounds great!

BC: Who knows? We’ve never done one before so we’re going to find out.

1428 Elm: So, you guys are harkening back to the 1960’s when comedians like Bob Newhart had hit albums?

BC: It’s our version of that. I used to listen to the top comedy albums during the 60’s and 70’s. I wouldn’t dare compare myself to any of the masters like Mel Brooks and the 2,000-Year-Old Man with Carl Reiner. We gave it a shot. I love audio and I like radio plays.

Bruce Campbell vs the Classic Monsters

1428 Elm: So, tell us what is going on with your political satire, House Divided. Are you still working on pitching that once everything gets back to business as usual?

BC: It will be on the sales block. It’s a harder sell. There’s no blood. It’s not a horror movie, it’s a political satire. Associating Bruce Campbell with political satire isn’t the first thing investors whip out their checkbooks for.

To combat that, I just finished writing a sequel to My Name Is Bruce. The idea is we want to take Bruce and have him go through each of the classic film monsters. The sequel is Bruce vs Frankenstein.

We’re done. I finished my draft and sent it to Mike Richardson, my partner at Dark Horse Comics. We’re actively looking for money on that one. It is the Expendables of Horror. I fully intend to load the cast with so many familiar horror faces. It should be a lot of fun.

It would be a cavalcade of genre stars, old, young, on TV now. We really want to cover the bases. A lot of people will be getting killed. Guest star kills. Basically, Bruce bumbles his way into being a hero.

1428 Elm: Will you have to go through Universal to get permission to use the classic monsters?

BC: Some stuff is public domain. I’m not a lawyer but we would figure out a way to do this.

I think the bolts on Frankenstein’s neck are trademarked, as well as certain looks. But you can make a Frankenstein. That story is under public domain.

It’s also a parody of a Frankenstein movie and that gives a lot of leeway legally as well. I don’t think you can say, “Wolfman,” but I think you can say Bruce vs the Werewolf. This is my version of the Bob Hope road movies.

Ted has two parts; I have two parts for Robert Englund and I have a couple of parts for Kane Hodder. If they’re a name, I am going to put them in it.

After we come out of the zombie apocalypse that we’re in and everyone gets back to work, that is what I will be actively pitching. There’s plenty going on. So, I have been self-isolating in a constructive way.

It’s an Evil Dead World

1428 Elm: We’re curious about the 1970’s period piece that you were working on when we talked to you last year. What happened with that?

BC: It’s currently on my action board. I will eventually get to it. I am going to finish my book of essays first and then I am going to get to that one.

The story is set in 1979. The idea behind it is what would have happened if us raising money for Evil Dead went horribly, horribly wrong. It becomes a horror movie in and of itself.

1428 Elm: How did this idea come to fruition?

BC: I was going through projects in my computer. People who have a lot of downtime do spring cleaning. Clean out your woodshed, toolshed when you have extra time. In this case, I went to the head of my projects folder.

This one popped up and it was just an outline that I had written 15 years ago. I thought, wait a minute, this is pretty well thought out.

In the 70’s, filmmaking was real, you didn’t have a lot of options. You had to get cameras from a certain place, you had to have insurance. There were a lot of steps that you had to take that made the process really difficult.

I remember making calls for money from payphones in blizzards and s*** like that. You had to leave messages, you’re getting busy signals, you’re not texting anyone. There are no computers, there’s no email, its old school. You sent things in the mail.

Today, filmmaking is not difficult. I can go to a store and buy a 4K camera. I can make a movie with $5,000 worth of equipment. Probably less.

1428 Elm: Well, you can do it on your phone too. Sam Raimi is on Quibi now with 50 States of Fright, which is entertainment tailored to your device. If his series continues once everything settles, do you think there’s a chance you might appear on the show?

BC: Never say never, that’s all verbally at this point. They have to succeed; they have to survive. Any new format, any new platform, I’m game and if Sam’s involved all the more reason.

1428 Elm: Have you ever thought of doing anything like Quibi?

BC: Not yet. I’m used to writing 90-page screenplays with a three-act format. I can adapt anything too.

I was thinking the other day, I have a few screenplays that might be tough sells but maybe I might convert them to a fricking novel and put them out as books. There’s lots to do. I’ve got plenty going on.

1428 Elm: Has the current situation affected the new Evil Dead? We remember that you talked about possibly going into production at the end of this year. Is that pushed back like everything else?

BC: No, not really. It was so early in the stages that we can keep going. I just read the first official draft today. So, then we’ll give notes and additional writing will take place.

Then you have to budget the thing so you know how much money you need to raise and then you have to get the money. Nothing will stop any of that.

You can make calls for money, you can send the script to people, you can do budgets. The only thing that will be affected will be the actual start date. Which we didn’t know anyway. We may end up not being delayed at all.

Many thanks to Bruce Campbell for chatting with us.

#Bruce Campbell #Ted Raimi

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thenightling · 4 years

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Dreams to Dream: Chapter 3

Bet you thought I gave up on this, didn’t you? Well, I wrote a bit more for a half hour today. :-P

Chapter may be fleshed out with more detail later.

Dreams to Dream: Chapter 3.

Disclaimer: Sandman belongs to Neil Gaiman and DC comics.

Darkness. Darkness and the plunging sensation of falling. Spiraling, spinning. Lucien was screaming. Matthew was fighting the powerful current with desperate and frantic flapping.

“MY LORD!” With one hand Lucien was trying to hold his spectacles on. With the other he reached out desperately for Morpheus, whom he couldn’t actually see in the maddening whirl of dark haze as he tumbled through the abyss. Lucien felt a sudden tug on the back of his jacket. Someone had him. Morpheus had him in a grip much stronger than Lucien may have expected considering Morpheus’ recent signs of weakness.

Matthew let out a surprised cry as he was caught in a pale, bony grasp.

They were descending now, more slowly. Gracefully. The trio landed on a platform floating in an oddly colored void. Around them was a vastness of a cloudy nebula that was somehow devoid of distant stars.

Morpheus released his two companions. Lucien dusted himself off and straightened his spectacles. He attempted to restore his usual appearance of being prim and proper. Matthew fluttered to get a higher angle and look around the strange nothingness that surrounded them.

“My Lord, what IS this place?” Lucien asked.

“This is a place outside of known reality. A place to commune.”

“Commune with who?” Matthew asked with a wary and cautious tone.

Morpheus chose against directly answering but instead reached out a pointed finger and started to draw in the air. A simple symbol- a pentangle of sorts. A simple five pointed star. Where his finger touched at empty air a golden aura of light lingered behind and soon the symbol took form. The star floated in the air as if suspended by an invisible wire.

“What’s that?” Matthew asked as he flapped down to settle a perch on his old boss’s shoulder. It was familiar and good, as if no time had passed between them at all, no time lost that they could have and should have shared- now on this strange adventure. And Matthew wondered- would Morpheus go back to being dead after this? Like really dead? Would he be gone again, inaccessible to them? For the first time in the entirety of his life as a raven Matthew wished he had arms to physically grab him and maybe give him a good shake to knock some sense into him. He dreaded the end of the adventure that he knew was bound to come.

“It’s a star.” Morpheus said simply.

“I can see that. I mean… Why are you drawing it?”

“It is a very old sigil.”

Matthew and Lucien understood this. Sigils were symbols of magick and power. Each of the family of Endless had a sigil. Death’s was her ankh. Destiny’s was his great, chained book. Desire’s sigil was a heart. Despair’s sigil was a hooked ring. Delirium’s was a strange splattering of rainbow color that maybe once vaguely resembled a flower.

“Whose sigil is that?” Matthew asked.

“Mine.”

“Yours?” Matthew asked and then Matthew and Lucien exchanged looks.

Matthew attempted to broach the subject delicately as if dying and current existence had left Morpheus addled somehow. “Uh… Your sigil is your battle helm. Don’t you remember?”

“Yes, Matthew. I remember. But before the helm there was another sigil. Before I created the helm my sigil was a star. And He knows it. He knows I am the only one who would use it now. He will come to me.”

They stood in silence for several, awkward seconds. And just before Matthew could state that nothing was happening something did happen. A glowing vortex opened in front of them, golden in color and bright as the sun. And a figure emerged from this light, as pale as Morpheus but in a white roman toga that draped down to his feet from his midsection. A sash, also of white, was across his shoulder. And around his neck hung a pendant of bright green emerald. It glowed with power.

“Hello Dream.” Morpheus said without the slightest hint of recognized irony.

“Hello Morpheus.” Daniel replied in the same tone. The tiny star-like pupil in Daniel’s eye flared and the mirror that was Morpheus gave a bitter smile as the two walked toward each other. With Morpheus’ dark hair and dark clothes, and Daniel’s white hair and white clothes, the two seemed to be opposite halves of a yin yang moving in toward each other. Two pieces of a puzzle finally connected and whole. It was… weirdly beautiful to the raven but he would never say it.

There was some unspoken communication between Morpheus and Daniel, some silent communication that Lucien and Matthew could not see or hear. It passed silently between the two as an exchange of knowledge and memory. And when the silent exposition had ended Morpheus spoke out loud.

“I see.” Morpheus said as most of his questions were now more or less answered. “The girl? Ivy?” Morpheus asked as if the question conveyed a great deal more than it seemed.

“She is safe.” Daniel replied. “I have her.”

Morpheus nodded. “I underestimated your humanness. For that I am sorry.”

Daniel shook his head. “That which was human was burnt away long ago. I am no more human than you.”

For a moment it looked like Morpheus was about to protest but Matthew gave a croaking caw to get their attention, his wings flapping. “You’re both more human than you’d want to admit! So shut up and let’s postpone the pissing contest. We’ve got The Dreaming to save!”

“Quiet, Matthew.” Morpheus commanded.

“Don’t talk to him that way.” Daniel said.

“Yeah, you’re not the boss anymore. Don’t talk to me that way.”

“Matthew, quiet.” Daniel said.

And Matthew gave them both a look. He then turned his head toward Lucien. “It’s like he’s in stereo.”

Lucien wiped a tear at seeing Daniel. He was sniffling, trying not to sob. He was trembling from all he had recently experienced. From the A.I. that took over the dreaming, to the digitization of the library. To his exhaustion at trying to keep The Dreaming running without his king for a second (and somehow more trying) time.

“My lord, what are we doing to do?”

Daniel gave Lucien a warm and sad look, “There is nothing I can do. I am-…“

Before Daniel could finish what he was saying, Morpheus was walking behind him. He seemed to be circling Daniel like a vulture encircling prey. He placed a hand on Daniel’s back. “This…” His hand rested on the dream catcher tattoo, a geas spell that bound him. “This petty hedgemagicking? This is what has crippled you?”

“I am not crippled.” Daniel said indignantly.

Morpheus gave a tiny, strained smile. “Am I always so-?”

Matthew interrupted “Stubborn? Usually refusing help? Cocky? Acting like your shit don’t stink?”

“I believe the word you’re looking for is ‘Incorrigible,’ Matthew.” Lucien said as he adjusted his spectacles, no longer quite sounding as if he was on the verge of a break down.

“Yeah, that. Uh…You are.” Matthew answered Morpheus.

“Ah. I see. Fascinating.” Morpheus said with actual consideration as he rested his fingertips on the dream catcher. He grimaced, trying to mask that the magick was hurting him. “This… This will not do. But Dream Catchers were never designed to prevent or stop dreams. Only Nightmares. And you are the master of both. Or… Are you?”

Daniel blinked. “You know how to remove it, don’t you?”

Morpheus sighed “At great sacrifice to myself, yes…”

“How so?”

“I can pull you through it, your very essence but the darker part of you. The part that governs Nightmares… That will be ripped from you. It will be painful. And you will lose much of yourself.”

“Where will that part of me go?”

“…Where it once was…”

Daniel nodded solemnly and turned to face Morpheus. He stared at him for a very long moment and understanding the sacrifice he was making, the freedom he was giving up to save him- to save his kingdom- the balance he meant to preserve, he took Morpheus’ hand, his fingers intertwining with his. And he breathed the words, “Thank you.”

Morpheus was briefly surprised by the sudden grasp of his hand, their fingers instinctively twisting together. Again Morpheus nodded sadly.

The two figures, one light, one dark, were rotating in the void, and speaking, now separate from the two dream creatures. They were away from both Matthew and Lucien.

“This will hurt.” One of the two similar figures said.

“I know.” confirmed the other as the light and dark figures moved in circular formations like a slow waltz.

“It will be like being born again.” Said one solemnly.

“It will be like dying again.” The other replied apologetically.

“And when it is over…” said one.

“When it is over things will never be the same again.” Said the other. But it was hard to tell which was speaking.

Matthew and Lucien were now on a platform of displaced terrafirma though Matthew did not remember leaving Morpheus’ shoulder. He was fluttering in the air (or was it air?). “What’s happening? What are they doing?”

“I… I don’t know.” Lucien said with puzzled worry.

There was darkness and then a great explosion of light. Someone was screaming. Both were screaming. An agonized cry, like a man dying, or a baby being born, or both. It was deafening and heartbreaking and all around Lucien and Matthew they could feel the rush of a tremendous energy. They knew they were witnessing something profound but they could not quite tell what it was.

After what seemed like a small eternity it was over. In a strange crater lay two naked beings. A burnt dream catcher made of wire, and a wooden frame, and beads, and feathers, with Hebrew letters Matthew could not read lay on the ground. It was as if the hideous geas of a tattoo had been ripped from Daniel’s back and made manifest into a tactile object. But in reality Daniel had been torn through the pentacle and the tangible object was merely all that remained of it now. It looked like someone had tried to shove a fire cracker (or a small star) through it. The mark on Daniel’s back was gone, but the flesh of his back was raw, pink and slowly healing back to bone-white.

Morpheus lay on the ground, curled in a fetal position as he laid been once before when summoned to the cellar of a human occultist, Roderick Burgess. He lay there with his eyes clenched shut. He seemed to be in a great deal of pain. Clutched in one hand was a pendant. A brand new, glowing amulet, a jewel hanging from a chain. Ruby? Perhaps garnet? A bright red new dream stone made from the torn piece of Daniel’s essence. He could feel the power of the dreamstone passing into himself, coursing through him. He couldn’t throw it away now. It had been the only way to save them- to save his world. There has to be balance. There must be two. Two sides to the coin. Light, and darkness. And he, as he had always loved his Nightmares, had accepted the darkness that could not survive the journey through the magick of the dream catcher. He placed the pendant over his head and let the stone’s weight hang against his chest. This was somehow very familiar.

Oh, certainly there was a way to give it back to Daniel now. If he thought about it for a few minutes he might have. But sometimes things happen for a reason. Sometimes sacrifices must be made. And sometimes… There must be balance.

Lucien had somehow made it from his safe, floating shelf, to the crater on the other floating ground. “Morpheus?” He asked.

Oh, poor Lucien. He hadn’t remembered to not call him “My Lord” that whole time and now he finally had remembered to disregard the formality. And now he was to be corrected again.

Morpheus slowly, shakily stood up, not too modest about his current nudity. “Is that any way to address your king, Lucien?” he asked softly. But though his voice was soft there was power there, familiar power. And Lucien felt him there, felt him and the other Dream- both in his mind.

“Ugh. Kings.” Groaned the other similar voice, correcting him.

Lucien hurried over to help the white haired one to his feet.

Matthew flew over to Morpheus. He could feel the restored connection too. “What have you done?”

“Isn’t it obvious, Matthew? There needs to be balance. That Dream Catcher would have destroyed a great deal of his essence if there was no one else to claim it. “We are now both Dream of The Endless.”

“My Lord!” Lucien exclaimed, while supporting the weakened, white haired Dream.

“Yes.” Both answered, as if it was a question.

#Dreams to Dream #The Sandman Fan fiction

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blackbeerandcoffeemovies · 4 years

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Doc Savage: The Man of Bronze

This movie came out in 1975 and I’ll be blunt: it has not aged well. You can take that as a warning.

In fact, you find yourself in various states of cringing, laughing hysterically and wincing at how mind-numbingly “campy” this movie is. It would help a lot to remember that this movie was made in a different era, with a different vibe throbbing in the culture. Personally, I watched this movie not just for the memories but to perform a symbolic gesture of sorts; like a wink to a beloved ex-girlfriend who you may have connected with recently.

So if you are still curious enough to continue reading this review though, you’ll get to know more about arguably THE first superhero ever! The prototype from which all the other modern costumed, world-saving, aliens/monsters/despot-fighting paladins found their inspiration from.

But first, let’s take a trip down memory lane. Way down. Thirty-eight years ago to be exact. . .

I grew up with American comics. I was just a Malay kid who was so fascinated with this wondrous world of mighty men battling equally mighty villains. My memory is a bit hazy but I do remember that, as a scrawny 7-year old in 1982, I fondly remember clutching my first comic book with a stupid grin on my face as I left the store selling PX goods and “stateside” items (it was an issue of “The Flash” by the way). This literally and figuratively, colorful piece of literature not only served to enhance my facility with the English language but it also introduced me to a large slice of Americana in all its “Western” ways.

Later, this love of the colored pages unknowingly led me to appreciate another, more ancient kind of literature as soon as I was able to intellectually grasp it: mythology. I graduated from skin-tight, super-powered, 2D heroes to flexing my imagination about ancient stories of immortal gods who could throw lightning bolts, imprison giants, and command the elements. Was I sensing a familiar pattern here?

That underlying pattern, I ultimately found later in university, was called the archetype. To those unfamiliar, the archetype as is known in various fields of studies is basically an image or representation of a grander ideal that we recognize readily when we see it. When you see these beings, your insides get flooded with inspiration and comfort because you know they embody strength, protection, justice, restoring balance and all that good stuff. Such symbols have been around since the dawn of humanity simply because they give us an ideal to aspire to and not be simply hairy meat bags existing just to make it to another day.

So who is Doc Savage: The Man of Bronze exactly? Created in 1933 (Yes, he’s that old. Years later, some super-strong alien with a big letter “S” on his chest would also rip-off the idea of having a Fortress of Solitude in the Arctic and be called “Man of Steel” instead, but let’s not talk about him. . .) from a time that was before the modern comic book format. This was the era of the so-called pulp magazines, circa 1890’s to the 1950s. As the name implies, the paper used was made from wood pulp material with the pages having rough, untrimmed edges very different from the higher-quality paper used in magazines. In terms of literary style, think of them as short, “cheap”, unsophisticated works of fiction for mass consumption with almost no illustrations. Thus, the reader defaults to his/her imagination for further immersive experience. The heroes at this time were in the truest sense crimefighters or ordinary men having heroic exploits by uncovering plots and bringing wrongdoers to justice.

Clark “Doc” Savage Jr. would be the template for the rich, over-achieving polymath industrialist with limitless resources (think Batman, Ironman and Black Panther with a bit of Robin Hood thrown in). He was raised to be the peak of manly perfection having unmatched athletic ability, a photographic memory plus an inventive intellect that would rival Da Vinci or Newton and the discipline that would make a Special Forces operator blush! To add to his already considerable arsenal was his cadre: The Fabulous Five. This crew was made-up of his previous military comrades that included an industrial chemist, a construction engineer, a high-level electrician, a renowned archaeologist/geologist, and even a noted Harvard lawyer. Banding together with Doc taking the lead, they pooled their various skillsets and traveled the world having adventures and fighting for justice. Above all else, Doc Savage apparently had a character that was closest to the ideal of all humanity. This was exemplified in “The Oath” he and his team strove to live by:

“Let me strive every moment of my life to make myself better and better, to the best of my ability, that all may profit by it. Let me think of the right and lend all my assistance to those who need it, with no regard for anything but justice. Let me take what comes with a smile, without loss of courage. Let me be considerate of my country, of my fellow citizens and my associates in everything I say and do. Let me do right to all, and wrong no man.”

Finally, the blessed movie itself. I really believe they could have treated the material better. If you’re a fan of the clownish Batman TV series of the 1960’s, you’ll feel right at home with how the makers of this film approached it. The ridiculously cartoonish characters, the contrived banter/bickering dialog between the team, the mediocre special effects, the lack of depth of emotion. . . Do I really need to go on? I should let you know I’ve never had a colonoscopy before, but I imagine this would be the closest experience to it, with the procedure being done to you with minimal anesthetic as possible!

If this movie had any saving grace whatsoever, it would be lead actor Ron Ely (“Tarzan” TV series of the 1960s). If we’re looking for an archetype of the “ubermensch”, Ely is the closest we have of him with his obvious manly presence and the dignity he carried himself with was convincing. That being said, the grand final fight scene between him and the villain/criminal mastermind apparently displaying their mutual mastery of several martial arts is best watched with strong liquor of your choice. Trust me; it helps numb the cringe!

Yes, this movie was indeed like reconnecting with an old flame. The memories, both good and bad come tumbling back (mostly the good though), but REALITY suddenly comes down hard like the current jealous partner! That was then, this is now. It gives you pause to think that perhaps there’s a reason why it was only good in the past, and that is so you could appreciate what you have NOW in the present.

Doc Savage has a tremendous amount of potential if given the right elements for proper flimhood. Still hoping this granddaddy of superheroes gets to have a worthy remake one day!

#Adventure Action Comics to Film

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comingupforblair · 5 years

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I occasionally see people praise the lighter tone of recent DC films as being them figuring out what “audiences want”. That is, people want light-hearted superhero films and good-natured escapism and “fun”.

I’m going to leave aside people’s frankly frightening dependence on and expectation of escapism in every film and their efforts to turn everything else into it because that’s a topic for another post.

Anyway, the narrative is pretty clear: People want “fun” because that’s what they’ve come accustomed to from these films and film makers need to work within that confine. Anything outside of that is wrong and will be punished.

If I were being generous, I’d even say that’s the reason why people have called for DC films to become more like the MCU and why they’re so focused on box office returns. That’s what people want and they feel that Warner Bros need to appeal to that to become as big as Disney and prevent them from gaining a monopoly. But that’s giving them too much credit as I doubt they’ve ever reflected on their actions that much (though I imagine any who see this will make it their new justification).

But there’s an issue with that which is that giving audiences what they come to expect and not deviating from that traps them in a situation where these are the only types of comic book films made and, increasingly, the only types of big films made at all.

People will never learn to accept other types of superhero films if they aren’t getting them from these big franchises. And I’m not talking about slightly more serious MCU films that are followed by lighter ones shortly afterwards. I mean, films that are tonally and creatively unique and not like anything else in the genre. Films that take real chances and bring the genre in unexpected directions.

Whatever you may think of Zack Snyder’s films, they were unquestionably both and I fear the intense negative reception is sending a clear message to the people making these films that they can only stick to what has been established as working. Any attempt to deviate from that will be punished. Directors are getting a message that they exist to give people what they have come to expect and nothing more.

Making lighter DC films in order to win audiences over and keep fans (read: annoying pricks throwing a tantrum) happy might work in the short term and make life easier for the moment but doing it as long term strategy is going to hurt the genre.

The simple fact is the genre needs variety. It needs films like Logan, The Dark Knight and even Batman v Superman. It needs directors who can take risks, tell new stories with these characters and are able to radically reimagine established characters and give audiences what they never knew they wanted. If you’d asked someone in 2006 if they wanted a version of the Joker with no gadgets, who was more of a terrorist than and played by Heath Ledger, they would have responded resoundingly in the negative.

It’s easy to look at the successes and failures the genre has had and assume they were preordained or inevitable but the fact is no one knows how a film is going to be received until it has been made and that’s something a lot of people have forgotten.

The genre needs new storytellers and new films and the MCU are not going to provide them. Disney aren’t risk takers. They’ve hit upon a strategy that works and they’re not going to deviate from that.

So it’s up to DC and Warner Bros to take those risks and do what Disney can’t. That’s why I get infuriated when people try to turn the DCEU into a copy of the MCU with the same method of film making and storytelling, right down to suggesting WB hire the same actors and directors for DC films. It’s trapping the genre in an infinite loop of the same stories told by the same filmmakers and with the same actors over and over again.

Never stopping. Never changing. Never taking chances. Never deviating from what has been established as working.

It’s going to have to change eventually. If it doesn’t happen now, it will be ten years from now. You can’t make on type of film with only minor changes indefinitely.

And audiences have been turning out for those films. Perhaps not to the same level as MCU films but there’s more interest in them than the narrative around them would have you believe. Man of Steel did better than every pre-Avengers Marvel film and BvS made eight-hundred and seventy million. You could argue that both films only did as well due to the characters they have and they could have or should have done a lot better but the fact remains that people turned out to see films they were told over and over again were these bleak, joyless, ultra grim, nilhilistic (not the proper use of that word by the way) films that were overtly nothing like the MCU.

Same with Logan and now Titans. Both adaptations that are exactly the kind of gritty, serious stories people say have no place in the genre and both found sizable audiences. And in the case of Titans, they did it with DC characters associated with lighter adaptations so it can be pulled off. People’s image of these characters and what they will accept from them isn’t set in stone.

Audiences love and will turn out for MCU films. That’s not going to change nor should it. But that doesn’t mean they don’t want something different. People want variety.

It sounds obvious when said out loud, that people don’t want the same thing indefinitely, but you’d be shocked at how many people don’t think that or don’t want it themselves.

Even if you think Man of Steel and Batman v Superman failed, it doesn’t mean that Warner Bros should just abandon the idea of doing something different from the MCU or making new types of comic book films and contend themselves with just doing the same stories over and over again as people have said they should.

No matter what you think of those films or what your preference is, the fact remains that the genre needs real variety and freedom for creators and the MCU needs a tonal counterpart to provide both and this effort to turn the DCEU into a copy of the MCU and put such arbitrary limits on what kind of films directors can make is antithetical to that.

The genre is going to have to break out of the MCU format sooner or later. The sooner people accept that and stop trying to prevent it, the better.

#dceu #mcu #man of steel #batman v superman #titans #logan

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ifeveristoday · 5 years

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(welcome to the) Hellmouth 2019

This crossover event, you guys. You guys. I want to talk a little about the team-ups and the change in chemistry among the characters and what I think it signifies for the future issues. I’ve included some panels from the comic, but really this is an issue worth owning either in digital or hard copy format.

I just want to point to how perfectly creepy this panel is - I’m guessing they’re either Sunnydale students who ditched the dance early and are catching a late-night film in their costumes or theater employees enjoying their perks. The demon arms emerging from the darkness though? Fantastic.

And look at this, Giles knows Anya. Something the Boomverse has been exceedingly good at is fleshing out/giving a different spin on familiar characters, particularly ones that may have been ill-served by the TV canon. Anya being recognized as the powerful demonic ‘adult’ entity she is vs the ‘newly human fish out of water who take things literally’ is such a delight. Not that I didn’t enjoy that incarnation of her - but by the end of the series it was clear that the writers had no idea where to go with that. Anya’s been around longer than most of the vampires/baddies Buffy’s faced and only got asked intermittently about her knowledge? And she and Giles had excellent chemistry.

So it’s fantastic that this happened - and that Giles may have known about Anya’s shop before he sent Buffy to look for it - but Buffy still had to use a vampire as GPS. I don’t think Anya’s shop is necessarily warded, but Buffy was in full grieving/vengeance mode and may not have understood Giles’ instructions/if he even gave her any - Buffy complains about him not telling her how to do/acquire things (#3 Buffy) - but Giles finds it easily. Anya remains pragmatic as ever and points out that she’s lived through and seen similar events go down and there’s nothing she can do. All she has is her shop and magic portals to demonic storage solutions.

But look at Giles’ idealism and how firmly he is on Team Buffy. “Her spirit and her heart...” Giles is forever Buffy’s hype man, even if she’s not around to hear him praise her.

I’m hoping Giles can convince Anya to stay and do...something in future issues, but her expression sure looks like she might have second thoughts. Another thing I really enjoyed about this issue - the expressions. The way panels are arranged and the physicality/action of the character's movements are perfect for an apocalyptic themed mini-series. It’s very dynamic looking. And it’s also askew in the best ways:

Also, it’s one of the funnier issues of the Boomverse - there’s always been humor/background gags and throwaway lines - but this issue brought together Scooby Gang 2019 - Cordy and Robin are accidentally drafted but Cordelia seamlessly transitions in as she helpfully points out the obvious WTFery going on, the boys’ reaction to her observation, and Buffy tuning out anything that isn’t immediate Danger, Will Robinson. In just two panels, the characterization is clear and spot-on.

While Willow’s absence is notable (her cameo in Buffy #8 signifies something wicked this way comes), the trio of Robin, Cordelia, and Xander running to save the day is still a great match up.

The library scenes were easily the funniest in the issue, actually. Not included in this post but in my tumblr, is Angel’s iconique entrance - and this aftermath:

Angel doing his Angel thing and abruptly disappearing. Buffy’s not letting that mysterious creature of the night thing slide though -

Please admire the tiny Mayoresque snake demons scattering the landscape and the way this is laid out - it’s a proper action chase, with Buffy running after Angel while blithely saving bystanders. Also, people still dress up as Dr. Evil?

(And the significance of Buffy saving a person dressed up as a vampire -- probably coincidental but her polite - ‘hi try not to die’ aside is hilarious)

Hellmouth is breathlessly paced, and the final cliffhanger -- I can’t wait until November comes and we find out what’s going down in the demonic rabbit hole.

predictions/guesses for Hellmouth:

Spike’s loyalty has been severely tested and we know he ends up in Los Angeles - either through his own volition or as a scout for Dru? Their partnership seems to be on rocky ground lately, but I’m sure there’s going to be more twists and turns, and let’s not forget the Cordy detour.

With Buffy and Angel literally inside the Hellmouth now, I’m guessing the mini-series will primarily focus on their reluctant partnership blossoming into...something, while their namesake comics deal with their crews figuring out how to fight the demons left behind. Which I think is a genius move, because it’ll give them space to explore the B/A relationship separate from the other storylines and for fans who are not invested in B/A, they can still read the other comics and not miss too much of the story, and also enjoy other characters taking the spotlight for a while. The next issue of Buffy feels like it’ll be Xander-centric.

I personally don’t think, after this issue that reading Hellmouth is optional anymore, and that it’ll also delve more into Buffy and Angel as characters, not just partners. Also, Kendra is arriving - and with Robin being part of the Watcher’s council, the Slayer mythos not completely laid out in the Boomverse - does this mean a) Buffy’s technically dead because she’s in a demon dimension b) is Wesley showing up? c) are we going to see Mr. Zabuto, Kendra’s watcher from OG canon d) KENDRA BEING PART OF THE PLOT d) oh no, does this mean Giles will think Buffy’s dead when Kendra arrives? e) YIKES

Four more issues of Hellmouth left, but plenty of Buffy and Angel to come!

#hellmouth #spoilers #buffy comics #boom! studios #boom! verse

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myfriendpokey · 5 years

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Morality Play

What does it mean to have a videogame tell you you're a good person? It doesn't know me, can't see me. I don't know if you can be *immoral* in a single player game outside of some very inventive custom controls. Why should I care what a game says? Any inner moral life that a videogame or a painting might possess would be more alien to me than that of a bug or a starfish. Of course videogames and paintings are made by humans, and shaped by the moral opinion of humans.. but we might make a distinction between what the human says and the object says, we might still feel the latter is more important, somehow.

The moral authority of an artwork or object comes from the fact that it's not quite human, that it comes to us from outside humanity to an extent, is distinguished from the unreliable back and forth of human consciousness in motion. But this distance is exactly why you might expect those moral verdicts to be unintelligible to us, or at the very best, to be untrustworthy, an imitation. So what's the appeal – that of having a human voice which speaks with the gravitas of an immortal object? The pleasant conceit that the general shape of our minds is universal, like all those Star Trek aliens that are just regular guys with slightly weirder ears or foreheads? The void speaks, and turns out to sound like a computer engineer.

But maybe not necessarily, maybe in fact it's sometimes not universal authority and moral support that we seek from the object: maybe a certain jankiness of verdict around the way these things communicate in human terms is itself part of the appeal. I think of paper fortune tellers, magic eight-balls, "love tester" machines that return a romantic prognosis based on palm temperature. The entrancing bathos of the chance-driven or mechanistic judgement that still speaks with a human voice: I’m sorry, I cannot answer right now. Please shake me, so I may try again. How different is that to the widely beloved and magnificently broken romance system in Dragon's Dogma, where, spoilers: your "soulmate" is not a matter of direct moral choice, but of variables being tracked over the course of the game including who you talked to and what sidequests you completed - which means it could arbitrarily turn out to be the weapons merchant, or a grandpa npc you found a potion for. Which is goofy, but only in a slightly more blatant way than "accidentally unlocking the romantic option in a dialogue tree from just clicking around" or "having your morality score drop 5 points because you pressed the wrong button and accidentally hurled a rock at someone's head while trying to equip shoes".

I think something I appreciate about videogames is the kind of insectlike moral life that they tend to portray, the sense of value systems which are in some way recognisable but which have mutated in conversion to something alien and horrifying. Lara Croft shooting a wild eagle is unfortunate, Lara Croft shooting a thousand wild eagles is bizarre – but really those thousand eagles are just the one eagle, the one self-contained pulp encounter fantasy, which has been extended, extrapolated, systemised as result of being placed in this machine. The latter may be more egregious but it’s still composed of repeated incidents of the original encounter - and part of the strangeness in these games is just the uncomprehending machine effort to systemise the half-formed gunk substance of our terrible fantasy lives, which only bear a vague and halfhearted relation to any notion of ethics in any case.. We can contemplate with envy and excitement the possibilities of running more realistic, recognisable emotional and moral situations through the meatgrinderof the format in this way. How about a solemn middlebrow videogame about divorcing 50 different wives, each one larger and more powerful than the last (excluding sprite recolours)?

All this is not to say that the casual political and moral stupidity already in videogames should simply be excused or exist outside of critique. But in addition to the body of discourse around "moral commodities" - commodities invested with moral or political meaning independent of any brutal labour practices they might entail or monopolistic accumulation of private wealth they might support – I think it's also worth considering the purpose of the "moral object" itself. The alienation intrinsic to the object form can be a way to think, and also a way to avoid thinking. To project moral beliefs away from the specific context of a creaturely human existence can be a way of expanding that existence, but also of denying it. The paltriness of the human can itself be problematic next to the splendour of the object, and the reflected moral superiority of those with the means of producing such objects.

*****

There's a famous line in the Spiderman comics that with great power comes great responsibility. But it's also kind of a weird line because, while obviously applicable to Spiderman, the person it's actually delivered to is Peter Parker - who is, for all his uncle knows, still a physically awkward and friendless nerd with no immediately visible "great power" to speak of. He does like nuclear physics, though - maybe the advice was intended as a friendly intervention to keep him from turning into the next Edward Teller? Or possibly it's just a kind of unconscious, pulp-writer-trance-appropriation of the muscular liberal rhetoric of the then-current Kennedy administration. Or maybe, and stretching a bit, it's a line that relates more to the conditions of pulp culture manufacturing itself, to the awareness that the stuff you make will be printed thousands of times and sold to kids around the country, poured raw into the national subconsicous. With great sales figures comes great responsiblity.

I mention it because I think it connects to an issue with the kind of cultural criticism that emerged, like it or not, from the specific context of an age of mass media. With great power comes great responsibility - but conversely, to execute your great responsibility you also need great power. And what are you meant to do if you don't have it? Does no power mean having no responsibility? It's possible, but i feel like most people would be dubious about this as a moral lesson - and the inescapability of heavily-financed blockbusters in the culture means that an assumption of already "having great power" sometimes becomes a critical starting point. If you don't have power you should get it, so that you can then have great responsibility and contribute to the discourse. The effect can sometimes be like climbing a mountain of corpses to get a better platform for your speech about world peace.

A good essay on jrpgsaredead.fyi points out the way that certain industry conversations on "accessibility" revolve specifically around access to whatever mainstream AAA action games are currently dominating the news cycle. And the related effect where both problems and proposed solutions are particular to these games, the audience they have, and the resources they can bring bear: More consultants! More characters! More romance options! Better character creators! If you're speaking to an (essentially captive, given the marketing monies involved) audience of five million people you'd better be sure your ideas are, at least, not actively harmful, and in fact should ideally be improving - - fine. How about an audience of 50 people? Or an audience of 0? Does that mean this work is less moral than what speaks to a larger crowd - in effect, that it's worse? And what about the relationship to audience that this kind of teaching implies? i can think of several occasions where people from different subcultures or minority groups were reprimanded because something in their own experience might read differently, or problematically, when presented to a presumably white/cis/affluent etc audience - which is of course the audience that matters, because what's the value of presenting work from an alternative perspective to an audience already familiar with that perspective, to whom it has no automatic moral significance (might, in fact, merely be 'aesthetic')? Compare the complexity of a specific local audience which can think for itself to the easy win of the alternative: a phantasm audience of moral blanks to whom rote lessons in hypothetical empathy can be tastefully and profitably imparted over and over, forever.

****

If the ethical act is that which we'd be willing to posit as universal law, perhaps we could say: the ethical artwork is that which we'd be willing to mass produce. Small or hobbyist developers are encouraged to work from the perspective of a mass-productive capacity they do not in fact possess; their successes and inevitable failures are hoovered up alike by the industry proper for later deployment in the form of cute dating sim or inspirational narrative with similar but sanitized tone or aesthetic. In essence a kind of moral QA testing, with all the job security and recompense that this implies.

The hobbyist is, by definition, not universal: they are enclosed within the local and the material. What time do you get off work? What materials do you have to hand? Are those materials always legal? The entire western RPG Maker community exists as result of widespread bootlegging; the entirety of videogame history and preservation essentially depends on stolen copies; we find out about it through ROMs, videos and screenshots which mostly depend for their continued existence on copyright holders either not finding out or choosing not to pursue these debateable violations. It's a complicated discussion whether this stuff can be justified on a general, universal level - but also I'm not sure we can do without it. When Fortnite uses dances from TV and music videos of living memory they're considered to be in the public domain; but Fortnite itself is not in the public domain, even though it's so inescapable that even I have a pretty good idea of what it looks and plays like despite having made a pretty determined effort to not find out anything about it. It's "public culture" in that sense, and it includes public culture within it, but both game and imagery are privately owned and aggressively policed (suing teenage hackers, etc). What does it mean for art to emerge from an ever more privatized sense of public life?

In 2007 the RPG Maker game Super Columbine Massacre RPG was added to, then removed from, the Slamdance festival following complaints; it was a minor cause celebre at the time following concerns about censorship and the lack of protections for expression in the videogame format specifically following the Jack Thompson media crusade in the United States. In 2019 the same festival retrospectively changed their reasoning: now the game had no longer been removed on the basis of questionable taste, but on the basis of questionable compliance with copyright law, since it included music from the likes of Smashing Pumpkins without paying for licensing fees (and also because the author generally "hadn’t created several of its elements" - asset flips!!!). There's some humour in the fact that a benign-sounding concern with "artist's rights" could just be swapped in as a more respectable-sounding surrogate for general prudery with exactly the same result. But also, in this instance, what does it mean about the game? As facile as SCMR is, the bootleg use of graphics and music was its most interesting element: the game was a bricolage of American pop culture at a specific point in time, as were the killers, as are we. The nearness and recognisability of that culture, the sense of not being able to get enough distance from it to properly fictionalise or think about what happened, is what stands out. An "ethical" version of the same game which used original music - Nirvanalikes, some tastefully copyright-adjacent Marilyn Manson clones - would not just be diminished, it would be actively insulting in the false distance it implied.

I don't mean this at all as a request for more edgelord-ism. But it's worth remembering that videogames themselves are not ethical; are, in fact, colonized materials assembled with exploitative labour and dumped aimlessly into public life by electronics corporations looking to make a buck. The bizarre and haphazard ways this long dump of poor decisions has manifested, warped, been adjusted into culture is part of what's worth attending to about the format – I think it's worth looking closer into all these pools of murkiness, before ethical landlords can come drape a tarp over them as part of the process of divvying up the property.

(image credits: youkai douchuuki, quiz nanairo dreams, trauma center: under the knife, espial)

#gamechat #games criticism #moral

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prettylittlelyres · 5 years

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Inside the Writing Process - Part 5

I’ve been so excited about the ideas this chart has given me for Violins and Violets, so I’m making this fifth “Inside the Writing Process” post about it. It’s immensely useful for...

Expanding a Story into a Series

OK, so I’m sure a lot of people with ADHD have seen this going around and related to it a lot, but I think a lot of writers could relate to it as well in terms of things that can distract us from the main points of our WIPs (and of course some writers have ADHD anyway).

I saw a copy of this chart on Facebook yesterday, and it got me thinking. Disclaimer: I don’t know if I have ADHD (I have executive dysfunction and a lot of trouble concentrating, but I don’t know why, and don’t have time or energy to get it looked into), but it did get me thinking.

It made me think about how to organise my expansions of the world around my WIP Violins and Violets (currently seeking beta readers), because I wanted to address a lot of things in the book that just weren’t practical to address (because there’s only so much you can put in a book without it become completely unreadable. This is why I’ve never finished Kushiel’s Dart by Jacqueline Carey, even though I love it, especially all the beautiful world building... it’s just too much to hold in my head). It was always in my mind that I could solve this problem (too many ideas for one book) quite simply, by writing more books.

This is a really long post, I know, but if you want to learn a fun way to come up with ideas for prequels, sequels and companion books for your story, keep reading! It’s a little bit like the snowflake method, and of course you can then use that to expand each individual idea that you have. It’s also available in shorter form here.

I’d been letting ideas for storylines involving other characters rustle around in my head since I finished the first draft of Violins and Violets in August... and then I saw this yesterday, and realised it would be a pretty good place to start thinking about the ideas that I do have, and listing them in relation to the main storyline of Violins and Violets. I spent about an hour writing down everything, just letting it all spill from my head, and this is what came up.

(Side note: I really do adore Pukka Pads Irlen refill pads. Another thing I may or may not have is Irlen syndrome, which would explain why I can’t read off white backgrounds for very long, and why my eyes hurt if I try. All I know for sure is that these pads help me so, so much, and they come in very gorgeous colours! These pages are from the “rose” pad, but I use “lavender” ones as well, a very soft and relaxing pale purple.)

Expanding Violins and Violets

Pre-Story Prologue for “Context”

Write down all ideas about character backstories to help you develop a prequel (or set of prequels) by exploring those.

Magdalena’s upbringing and Conservatory training with Dorota and Maja (these characters also never appear in Violins and Violets (with the exception of Magdalena) but I really want to explore their lives, going into more detail about Dorota and Maja’s relationship, how they raised Magdalena as their daughter, how they met, and Dorota’s fight to get Magdalena an education).

Käthe and Hansi touring Europe with their music. I’d be missing out on the opportunity to portray a fun sibling dynamic like the Mozart siblings had if I didn’t write this story. However, I do feel it might be better suited to a series of short stories, a collection of small standalone pieces, than a full-length novel, but it’s early days, and I have a lot else to do for this project in the meantime.

Franz and Julia’s early marriage/courtship, particularly how it really only happened once they were married; it would go a long way to explaining why Katharina’s parents are so relaxed about her having an arranged marriage; they genuinely believe it’ll work for her, like it worked for them (and they’re not entirely wrong, but that’s quite literally another story).

Start of Story

Consider all the characters involved in the main story, and ask yourself what’s going on in their lives that the protagonist doesn’t see. If a character only appears partway through the story, ask them what they were doing before.

Katharina goes to Prague (which is of course the main story of Violins and Violets).

Hans tours Europe with a comically large and ever-increasing pet entourage (this post goes into that in proper detail!).

Renée finds her way to Malá Strana and makes friends with Magdalena. Not for a second does she realise that a) Magdalena is with Katharina or b) that she, Renée, is in love with both of them. And then she meets the man who becomes her husband, also a big bi disaster, and Realises™.

Johann and Wilhelm meet at university; they’re both Law students. This would be a fun opportunity to take a step into the Dark Academia genre, but I’m not exactly sure what I’d do with them. Perhaps a poetic treasure hunt sort of mystery love confession? (I know already that this will be tricky because I manage to write about two proper poems a year and I’ve already written one in 2019, for Violins and Violets. I may have to put this off for a while.)

Semi-related side-story

Now think about the characters who come and go in the story and think about why that happens. Develop the stories of what they do after they leave.

Herr Benes and his boyfriend have a marvellous time in Budapest, enjoying their retirement away from the scrutiny Benes faces in the Malá Strana Opera House in Prague.

Herr Havelka is a devious and sacriligeous boi, also a sneaky bastard, but why is that? What other yuck things does he do after he leaves the Malá Strana? What is the origin of his malice?

Herr Janda retires and leaves Katharina (or Sebastian) in charge of the Malá Strana Opera House, but how does he spend his retirement? What does he think of Katharina’s continued work after she’s discovered? He’s a composer, himself, so I want to explore the compositions he works on, later in life. Maybe he’s quite inspired by Katharina both in terms of technique and ideas for music to compose in her honour.

Magdalena’s husband, Bartolomeǰ, runs a bookshop, and this is how they meet. He’s a big fan of Katharina’s music, and gets to know a lot of his regular customers. What are their stories? Who are his friends? What do they think of Magdalena? What do they think of Katharina?

Wait, OK, back to the main story

If you’re a fan of time-jumps, then a) Violins and Violets might be right up your street because it has a massive one, and b) this is probably a good and useful step for you. If not, maybe not. But ask what happens in the time-jump and then write about it. What stories can you tell about the space in between one part of your story and the other?

I want to explore Katharina's life in Salzburg, her friendship with Johann, Wilhlem, Lulu and her family, and her reconciliation with her parents after so many years apart. They're not angry at her, nor she at them, but things aren’t perfect between them, especially while they’re grieving Hans, and I want to look at that.

Something I just now remembered

Do you ever get deep down a rabbit hole, thinking about your story, and realise part of it you’d never thought about particularly deeply is actually very sad or very happy or makes you angry? Go into detail about it.

Magdalena and Bartolomeǰ never have any children born to them, but they're everyone’s Cool Aunt and Cool Uncle, and are basically extra parents to Evžen after Bartolomeǰ took him on as an apprentice.

Magdalena and Renée never lose touch after Renée leaves to marry, and Magdalena also stays in touch with Herr Benes, and they each eventually figure out the other is bi (Magdalena) and gay (Herr Benes), and have many fun letter exchanges not dissimilar to meetings in a Lesbian Crying Cupboard. I love their friendships and I want to dive into them more than I could from Katharina’s perspective alone. Imagine something like Lemony Snicket’s The Beatrice Letters, and you have some idea of the absolutely delicious format I’d want for this--because it wouldn’t be a traditional prose novel; it would be mostly epistolary, and for that, I need something a little different--all the letters bound together in a collection along with diary entries from the characters, ticket stubs from operas, playbills, pictures of gifts they send each other over the years, absolutely everything. A treasure trove and a mammoth project, but I am so entranced by this idea! The Baroque/Rococo aesthetic of the late 18th century is right up my street.

Wrap up story and finally get to the point/end of story

I’m, uh... not excellent at fully understanding the sentiment of instructions, but I feel less bad about (deliberately) misinterpreting this one, because I do so to have it mean “create an epilogue/a sequel”. Write down any ideas you have to that end.

Lulu’s children all grow up to follow careers in music. Hanna becomes an opera singer following help from Katharina and Magdalena to get her into a Conservatory in Berlin. Minna becomes a highly renowned composer (arguably a successor to Katharina), and Theo... well, I’m not exactly sure what he does, but that’s the point. I don’t have to know just yet. All I need to know is that I want to find out.

After grieving Johann, Wilhelm finds happiness and new love. Perhaps he brings his new partner to Prague, or perhaps he meets him there. That’s something I want to explore, as is...

...Herr Benes’ return to Prague with his boyfriend, meeting Wilhelm and his boyfriend (boyfriends for everyone. In this house we write gay joy or we write nothing (or we write angst)). Maybe there follow some nice rag-tag-band-of-elders adventures (quite literally a band, too, since they’ll all be musicians) and/or shenanigans. Do they all--with Katharina and Magdalena, of course--go on a fun trip to Salzburg and Eggwald together? That would be rather lovely. Some kind of Best Exotic Marigold Hotel story. Happiness.

Too many details/lose train of thought

Now’s your chance to get away from the main story! Ah, the guilty pleasure of AUs. Ah, the even more fun version of AU-related guilty pleasure where you get to write AUs of your very own novel! Go on. You deserve it, because you wrote a whole novel and you’ve read it at least as many times as you’ve drafted it... but you still want more content. You want to see how these characters that you love will cope in different worlds, different situations, different everything. Go for it. And if you have any details about the far-flung prelude or coda to the story (music terminology drop? Who’s that? I don’t know her), get into those, too. You know the ones I mean. The ones where you discuss the impact of the storyline on people centuries later, or get into the creation story of the world your characters live in.

I was fool enough to start thinking about a Vampire!AU of Violins and Violets before I had finished the first draft of the actual book. But that’s going on this list, because I have already written a slightly-related one-shot, Daughter, and I certainly don’t plan for that to be the only thing I ever make for it.

Violins and Violets and Varsity - a high school AU I’ve been thinking about since December 2018 - drawing on my experiences playing Swing Band and Pit Band in secondary school. It would be set in the UK, though, and characters would have more Anglophone-sounding names. I have some ideas for this written down somewhere in my computer, but, for now, I’m just going to leave you with the names, because I’m not certain I’m super happy about the current premise for the plot.

Katharina - Kate

Magdalena - Maddie

Hans - Henry

Bartolomeǰ - Bart

Renée - Rena

Going back to the dark academia mentioned earlier, I think it could be interesting to explore--not a modern AU, but in the modern day--how people now would look back on the lives of the characters from Violins and Violets had they really existed. I grew up not far from Reading, where an original handwritten manuscript of Wolfgang Amadeus Mozart was found in a charity shop in 2011, and I want to take that idea and run so, so far with it. I adore dark academia, as my followers will know, and it seems like a perfect chance to combine my knowledge of Music History and Music Theory with my current studies of Sociolinguistics. Here’s what I’m thinking:

Music History students team up with Sociolinguistics students to study the letters exchanged between the characters and coming to realise that everyone involved was a big and lovely Queer Disaster in some way or other, and that Katharina and Magdalena, as Johann and Wilhelm, were in love. And then all the students fall in love, too, because dark academia plus romance is my downfall (hence my current WIP, She Has No Name).

Steps I missed out of this process, I missed out because I couldn’t think of ways to relate them to my storyline. Those are:

What was I talking about?

Realise I’ve been talking too long.

Apologise.

If you can think of ideas to go along with those steps (although I’m hesitant to encourage anyone to apologise for what they write), too, go for it, and please let me know! I love hearing about everything you write! Now I dare you to have a go at this process for planning expansions of your story.

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qqueenofhades · 5 years

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The Punisher as Medieval Romance: Tropes, Themes, and Characters

So a few days ago, an anon asked about more mythologies/inspirations for Kastle, apart from Hades/Persephone, and I mentioned that Frank’s character and his overall story arc have substantial (and fascinating) parallels with medieval romances. I was just answering quickly, but I then started to think about it in more depth, and realized that in fact, damn near all of The Punisher can be read as a modern-day medieval romance, sometimes subverting long-established tropes and sometimes playing them almost straight. This extends into Daredevil canon as well, as the characters around Frank also fit into recognizable mythic-medieval roles, and… yes. I resisted writing a long and research-heavy meta, clearly what I needed to do on the last week of term, for oh, forty-eight hours. Then, well, we know how that goes.

A note that I work specifically on medieval history, rather than medieval literature, so if I say anything clangingly bad, I hope my brethren and sistren medievalists can forgive me for it. Also, I don’t know if any of this is intentional on the part of the writers, so it’s not like I am identifying anything they’re specifically doing (or if they are, I don’t know about it), but this is just me, as a nerd, wandering into the candy store and being like “OH HEY GUYS LOOK AT THIS.” Of course, not all the examples fit in every aspect between medieval romance and modern Marvel canon, but there are still enough of them in a number of ways to make this interpretation plausible. And indeed, considering how Marvel stories have become ubiquitously embedded in our popular lexicon almost exactly in the way Arthurian legends and stories did for their medieval equivalent, it’s a noteworthy comparison.

(As you may be able to guess, this will be long.)

Let’s start with the source material. The medieval Arthurian romances are part of what is known as the Matter of Britain: the vast corpus of texts, written and rewritten across several centuries and by countless authors (usually French or English) that deals with some aspect of this mythology. Arthur, Guinevere, Lancelot, Merlin, the Knights of the Round Table, and other characters appear in various guises and playing different roles in each of these texts. They are still “themselves” on each appearance, but the interpretation and the storyline is largely up to each individual author. One may remark that this bears some similarities with the Marvel comic universe. The characters have been written and re-written in a vast array of formats from their first creation to their present modern iteration (and likewise, Hollywood is still making a King Arthur movie every other year). They have been interpreted by many authors and given different plots and re-imaginings, and are part of our collective pop-culture reference in the way that Arthurian romance and chivalric literature was in the medieval era. If Twitter had existed back then, we would have fans begging for Arthur Pendragon to be saved from Camlann the way we now have fans begging NASA to save Tony Stark. It’s a kind of cultural entertainment that you’re probably at least aware of, even if you’ve never participated in, and thus has reached similar levels of saturation. The Arthurian romances inspired endless knock-offs. We likewise have an omnipresent superhero genre. It reinvents and redefines the hero’s journey for its particular day and age on a massive scale. In some sense, we don’t even need to explain these characters or tropes, because everyone already knows who and what they are.

So… onto Frank. At first glance, he is a considerably unlikely medieval romantic hero, right? He’s rough around the edges, has (to say the least) grey morality, and is generally regarded as an outcast and a loner in his community, rather than some idealized, flawless Sir Galahad type who has never done anything wrong in his life and nobly avoids all temptation. But he’s actually a hero in the middle of his trials and tribulations and the corresponding loss (and eventual reaffirmation) of heroic identity. The broad strokes of Frank’s character arc, as seen in Daredevil season 2 and Punisher season 1, are these:

Separation from home and family;

Exile from society and the implied loss of chivalric (military) virtue;

Test of honor/contests against other knights, good and bad (Matt Murdock, Wilson Fisk, Lewis Wilson, etc);

Search for the Grail (life, restoration to honor, vengeance for his family, completion of the chivalric quest);

Partnership with worthy knights on the search (David Lieberman, Curtis Hoyle);

Resisting temptation from a knight’s wife (Sarah Lieberman);

Saving a fair maiden and having to be worthy of her love, while bound by a code of secrecy (Karen Page);

Confrontation of betrayal by an intimate/revelation of the dark side of chivalric honor (Billy Russo);

Menaced by a quasi-mythical and possibly demonic figure who must be defeated, who fights him in a parallel battle at the beginning/end of the story (Agent Orange/Rawlins);

Attempt to re-enter society and re-establish identity (end of s1, though that will be once more disrupted and complicated by s2);

All of this is, basically, the overall character arc for a medieval hero. Pretty much beat by beat. Also, while we’ve gotten used to think of ‘chivalry’ as implying a certain kind of idealized and virtuous behavior around ladies (holding doors, gentlemanly actions, whatever) that was only a small part of the overall code of chivalry – which, at its core, was an ethos about fighting, military prowess, and the display of valor through acts of war. Frank says that he loves being a soldier, and this would be a sentiment familiar to a medieval knight. Chrétien de Troyes has a line about how, essentially, only morally suspect half-men prefer peace. The soldier’s proper right, duty, and true joy in life is the practice of war, and he earns chivalry – martial renown – by doing it. It is not merely a pretty or romantic veneer on courtly behavior (though that is often how it is presented), but about war, the military, the destruction of opponents, and the very nature of being a constant soldier. To say the least, this fits Frank’s character extremely well. He is the consummate soldier who in fact needs a constant war to fight, and who has built an honorable legacy for himself (decorated Marine, Navy Cross, etc) prior to his forcible separation from society. This darker, grittier underside of chivalry, when the violence, bloodshed, and distortion of self was a constant concern, also fits very well with the tone of The Punisher.

That separation is often the keystone for a medieval hero’s journey, and functions to drive him out from the context in which he has until now been respected and earned his living. Sometimes we have an outright reason for that action, sometimes the hero just leaves Camelot and sets out on a quest, but Frank’s separation from society bears some similarity to Bisclavret, a twelfth-century werewolf romance written by a woman (Marie de France), and interesting for various reasons. (Some literature is available via Google Books.) In this case, the hero (the eponymous Bisclavret) is driven from society by the treachery of his wife, who hides his clothes so he can’t turn back from a wolf into a human and is forced to spend seven years in the forest as a beast. Of course Frank loses his wife, rather than being betrayed by her, but there’s still the connection between loss of wife – loss of home – loss of self, resulting in exile to the margins of society and transformation into a “monster.” Bisclavret never gives up his principles and identity even while forced to remain a wolf, and Frank gains a reputation as the “Punisher,” but likewise adheres to his own code of honor. He remains a knight, even if a knight-errant.

Bisclavret is rescued and brought back from the woods by an unnamed king, who sees his humanity and treats him well even as a monster (and yes, there are some definite homoerotic undertones in the fact that it’s the king’s love that restores him to himself, after his wife rejects him for his monsterhood or arguably, queerness). However, you could credibly parallel this to Frank and David Lieberman, who believes that he can help Frank and they can restore him to his former self/his good name. David of course physically helps Curtis care for Frank after his injuries in TP 1x05, and in general performs the humanizing role for the “monster.” He serves as Frank’s companion in the wilderness and believes that he is not the way the rest of society sees him (just as everyone else in Bisclavret sees him as a werewolf and has to be convinced by his good behavior that he’s really a man). Likewise, Karen recognizes early in Daredevil season 2, and never gives up in believing, that Frank still has honor. He’s (literally) not a monster to her. He has been expelled from the chivalric society in which he operated before, but he has not completely abandoned his morality.

Next, as noted, the motif of contests against other knights is essentially a central theme in all quest narratives. Frank must match his wits and skills against challengers, and be paralleled and anti-paralleled to them. One of his most obvious foils is against Matt, as they are explicitly set up as reflections and reverse images of each other. In some sense, Matt is the perfect chivalric knight, at least in DD s1/s2. His morality tends to the black and white, he always has some sense of how his faith informs or restricts his actions, and he constantly incorporates the church’s teaching into his sense of self. As Richard Kaeuper discusses in Holy Warriors: The Religious Ideology of Chivalry, this is basically exactly what the medieval church would want for a knight. Some degree of coexistence (sometimes a great deal) exists between chivalry and Christianity, but the underlying question of violence and sin always underlies it – can a man who makes his living by killing people really claim to be acting in a holy cause? Matt avoids this paradox (or tries to) by not killing anyone, but Frank almost exactly embodies the tension between these two ideologies that was ever-present in the medieval era. Clerical moralists always worried that knights were too comfortable with killing, violence, and general unethical behavior (even as they needed and co-opted that violence for their own purposes, such as the preaching and popularization of the crusades). For their part, the knights often selectively used the parts of Christianity that they liked, and fashioned it into their own ethos, just like Frank does to justify his campaign of vengeance.

In other words, Matt and Frank are perfect symbols of the struggle between church and chivalry, with Matt embodying one side (reconciliation) and Frank embodying the other (estrangement), but neither of them are completely excluded from knighthood despite their differences. They’re in fact the central tension of its existence – how violent can a knight be, and how much consideration, superficial or otherwise, does he have to pay to the church’s restriction of his ethics and behavior? There is some argument that chivalric literature was written as an attempted correction or moral instruction for real-life knights, who were supposed to take it as guidance on their own behavior and be more merciful. This isn’t always the case, since as noted, the literature exalts the very kind of violent behavior that built a chivalric reputation, but there was always that inherent wariness about how much was too much. Matt and Frank push and pull each other on this very question, end up working together at points because they are both within the system, but can’t fully reconcile.

(Also I’d like to point out: Stick, Matt, and Elektra as Merlin, Arthur, and Morgana. Stick is the mysterious, possibly immortal mentor, who teaches and mentors both of them, but also misleads and manipulates them for his own purposes. Matt becomes the ‘hero,’ son of the dead/fallen king (Uther Pendragon/Battlin’ Jack Murdock), while Elektra becomes the villainess/feared sorceress, marginalized by a society frightened of her agency and unwillingness to play nice. Also, one of Arthur’s two half-sisters, usually Morgause but sometimes Morgana, is the mother of his illegitimate son, Mordred, who is prophesied to be his destruction. So there is a dark/forbidden/taboo sexual aspect to their relationship, and just as Mordred causes the ultimate fall of Camelot, Matt and Elektra are literally caught in a falling building at the end of Defenders, which destroys their current identities. Matt enters Once and Future King stage after that and at the beginning of DDS3, where he is ‘gone’ or sleeping or suffering a crisis of faith and must summon up the wherewithal to return, and the character of Benjamin Poindexter becomes one of the many Arthur imposters. There are also some parallels for Elektra with Nimue, the ambitious young student of Merlin’s who overthrows him, ends his reign, and imprisons him in a tree.)

Anyway, back to Frank. So what are knights actually doing with all this questing? Well, various things, but they’re most often searching for the Holy Grail: symbolic of eternal life, forgiveness and atonement of sins, return to self. For this reason, few of them actually find it or are able to encounter it without being changed. It too has a deeply underlying Christian context, and Frank, the ex-Catholic, has been estranged from his belief but not separated entirely. (Likewise, if you were not worthy to look on it, you could be blinded, so… the fact that Matt himself is blind is arguably a commentary on who he actually is vs. how he imagines himself.) The Grail is also, interestingly, in the custody of a figure known as the Fisher King. He is the keeper of the castle where the Grail is hidden, and in the context of the Punisher, he’s basically Curtis.

The Fisher King, for a start, is always wounded in the legs or the thigh, and unable to stand. Some scholars have interpreted this as a metaphor for castration (since “thigh” is often a euphemism for the genitals), and that the Fisher King is passive and impotent because he is physically unable to perform warfare and thus to acquire chivalry. Either way, the Fisher King is the keeper of eternal life, but is physically disabled and needs the help of a knight to activate that power. Curtis is to some degree a subversion of this trope, because he is explicitly not helpless and functions to enable other questing knights (veterans with PTSD) to search for the Grail (health and reconciliation to society)… but in TP 1x09, he still needs Frank to save him. Frank has to encounter the Fisher King and make the correct choice/ask the right question (which wire to cut) to save him and continue his own path toward the Grail. Curtis, by running the veterans’ group, is symbolically the keeper of eternal life, where questers have to literally ask questions/talk to each other to restore themselves, and Frank, by going at the end of s1, is still trying to reach it. But true to form, with the beginning of s2, he’s not going to be able to entirely get there. There is still another obstacle/quest to overcome.

So what about Karen? Visually and to some degree topically, she is set up as the lady whose love Frank needs to obtain and maintain, even in the wilderness of his exile. Karen is blonde-haired and blue-eyed, which was often viewed in the medieval era as the ideal/most beautiful kind of woman (because white supremacy in Europe has always existed to some degree, even if in differently constructed ways. However, the thirteenth-century Dutch romance Morien, and some other ones, feature black and mixed-race protagonists, who are just as able to achieve the predicates of the heroic quest as others). She is also, as discussed above, one of the only people to believe in Frank’s honor and to reach out to help him. However, this relationship has to be kept secret, and has the potential to destroy them both if revealed. This is a fairly close parallel to another of Marie de France’s romances: Lanval (adopted in fourteenth-century English form, by Thomas Chestre, as Sir Launfal).

In brief, Sir Lanval, after being cast out from Camelot, meets a fairy woman and they become lovers, and she promises him that he will have everything he needs, as long as he keeps her secret and never mentions her to anyone. (Marie’s original version of this is much less misogynist than Chestre’s, which adds Guinevere making sexual advances to Launfal and her jealousy being the cause of him being thrown out, so yes, Dudes Ruining Stuff has a long history.) This is not an exact analogue to Frank and Karen, but keeping the code of secrecy (Karen obviously can’t tell anyone about Frank, Frank receives what he needs from her in terms of information, emotional support, etc, but likewise can’t tell anyone about it) is paramount in both relationships. Speaking about the relationship or revealing it to the outside world will result in its destruction, and the fairy lady has to vouch for Lanval’s goodness to the court in Camelot, just as Karen stoutly defends Frank to the court of public opinion/literally everyone. In some sense, while the knight has to rescue the fair maiden, the fair maiden is also the arbitrator of his fate and his overall reputation. (Also, all of TP 1x10 is basically Lancelot, the Knight of the Cart, in which Lancelot must rescue the abducted Guinevere from Meleagant, and having to struggle with the revelation of this relationship and the fact they can’t be together and the dictates of public/proper behavior. Anyway.)

Lastly, Frank’s initial and final conflicts, and the overall shape of his quest, are dictated by his encounters with two archvillains: Billy Russo and William Rawlins, or “Agent Orange.” These are made especially painful for him by the fact that they are or were both close to him. Billy was his best friend, essentially part of his family, and as noted, there is a major theme in chivalric literature revolving around a betrayal (and subsequent murder) by those closest to you. We already discussed King Arthur being overthrown and killed by his incestuous illegitimate son, Mordred; the best-known version of that tale is of course Thomas Malory’s Le Morte d’Arthur, though only the seventh book, as linked above, actually tells the story of Arthur’s death. There is also Arthur’s half-sister and Mordred’s usual mother Queen Morgause; in the Morte, she is killed by her son Gaheris for committing adultery with Sir Lamorak and dishonoring her husband, King Lot. So in one sense, the knight is always doomed to face a betrayal from within his family, or from a close friend.

However, Billy Russo is also straight-up one of the demon knights of Perlesvaus, or, The High History of the Holy Grail. In Perlesvaus, Lancelot is haunted by the specter of these demon knights, who engage in a dark mockery of chivalric behavior, excesses of violence, and satanic imagery, and are otherwise the “dark side of the force” of honorable knighthood, as Richard Kaeuper puts it in Chivalry and Violence in Medieval Europe. Honor and chivalry are not permanent or unchangeable qualities, and in fact are very fragile. The perfect knight can and should have both of these, but he can also lose them very quickly by impious, dishonorable, murderous, or otherwise wrong actions. The demon knights are a metaphor and a commentary on the same tension we discussed in regard to Frank and Matt: when does a knight-errant become a bad knight? When does his behavior permanently transgress him and cast him beyond the reach of repentance? Billy outwardly embodies the same qualities as Frank, has been through the same wars, is part of the same order, but he isn’t a hero on a quest whose chivalric identity can eventually be reconciled to him. He has crossed too far to the wrong side of the line; now he is the embodiment of evil, a shadow parallel and a cautionary tale. He is not a knight-errant, he is merely a monster.

Then, of course, there’s Rawlins/Agent Orange. Noting the fact that his nickname is also color-coded, we can see some parallels to Sir Gawain and the Green Knight. In short, in this tale, a mysterious “Green Knight” challenges any man to strike him, with the condition that he will get to return the blow in a year and a day. Sir Gawain accepts and beheads him, after which the Green Knight stands up, picks up his head, and remains Gawain of his promise. Gawain has to struggle to both honorably keep his bargain and avoid dying, and is eventually struck at in return by the Green Knight, wounded, but not killed. In some interpretations, this has just been a test all along for Gawain to prove his honor, or an attempt by Morgana to deceive him and cause him to betray his chivalric ideals, and the Green Knight is just a pawn to achieve this. In others, the Green Knight is a potential embodiment of the Devil. (He also has a dual identity, as the Green Knight/Sir Bertilak, as Rawlins does.) Frank strikes at/beheads/blinds Rawlins, as seen in the flashbacks of TP 1x03, so Rawlins literally wants to do the same to him (an eye for an eye) in TP 1x12. In the story, Gawain and the Green Knight part on cordial terms, but in this case, Frank has to actually complete the death/destruction of his opponent. Like Gawain, however, he is wounded but not killed, and must find some way to survive his encounter with a possibly demonic entity determined to pay back in exact measure the physical wound/symbolic beheading inflicted earlier.

So. . . yes. Overall, both in the broad parameters of his character arc, in the obstacles he confronts, and the other people he meets and the encounters he plays out with them, Frank is actually an excellent hero for a modern-medieval romance. The essential core of the medieval romance was not about love, though that was often present, but about identity, adventure, and the challenge to self, and while in some places these tropes have been updated or nuanced or subverted, in others they’re played as recognizably or directly descended from their medieval counterparts, and the way in which we have thought about stories and enjoyed them for a very long time.

#mcu #the punisher #the punisher meta #frank castle #kastle #frank x matt #medieval history #medieval literature #yes of course i ended up writing this #i am nothing if not predictable #long post

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