#NUMBER ONE WAY TO GET ME TO WRITE: THE REWARD OF COOL FORMATTING :]

[volivolition]

the echem in my head, full of serotonin after seeing the formatting look official as fuck: NEVERMIND, I TAKE IT BACK, THIS FUCKING *RULES* ACTUALLY.

the voli in my head who's a fucking dweeb (affectionate) - Once we're finished writing this, we'll get to format the work skin layout on AO3.

the echem in my head who's a fucking menace (affectionate) - ?? "get to"?? *that's* the part you're looking forward to????

[mystic-sky]

A fan fic of Gojo Satoru inspired by the song Heaven by Julia Michaels 😭 I enjoyed your writings 🥰🥰🥰

The moment you met him was ingrained into your brain, even years after you both parted. It had been raining that day, possibly 7:30pm, and you were held up in a cafe for shelter. You had been dosing off a bit after your classmates left you an hour or so prior. You regretted staying up so late to watch that sit-com the night before. But it was a Friday, and you didn’t have class the next day. The paper was finally finished and you proudly packed your things together. You kept fantasizing about how your efforts during the week were soon to be rewarded by slumber. 

The sound of thunder brought you back to reality within the quiet coffee space. 

“I guess I should sit back down,” you said to yourself. You were standing by the glass doors and ready to leave, bag over your shoulder. You held your book in one arm before fisting the sleeves of your sweater. The one time I forget my umbrella, you thought.

There was something soothing about watching the busy streets of Tokyo while rain hit the window screen. You felt yourself unwinding, relaxing in place. Sometimes your school and work life felt so hectic. It was nice to slow down  from time to time and breathe. 

“Man, you don’t have an umbrella? That sucks.” An incredibly tall, white haired male spoke beside you, snapping you out of your zen moment. 

You turned your head towards him, and he wasn’t even looking at you. He wore a thick black sweatshirt,  black jeans and dark boots. He had thick black shades on, and surely an umbrella in his hands. He had a gorgeous profile, and his jawline was extremely defined. Was he some sort of supermodel, you thought.

“Yeah, I know.” You say, sighing to yourself. You were partially offended, but mostly tired. He was handsome, but you didn’t have time for flirting. You just wanted to go home and run a hot bath. He looked like he was going to break your heart anyways.

“It says the rain is going to stop within the hour on the weather app.” He said, scrolling and tapping away at his phone. “You goin’ to the train station?”

“Oh, yeah.” You say shyly. You nervously tucked some hair behind your ears before looking straight ahead. Why the fuck was this supermodel speaking to you?

Granted, it was hard for you to stop looking at him every so often.

“Like what you see?”

You blinked at him repeatedly, earning a cocky chuckle from him.

“Wanna walk with me?” He asked, peering down at you. You looked at him, pondering if he was seriously trying to hit on you right now. Surely if you had known him, maybe walking to the station with him solely for the use of his umbrella would’ve been fine. You don’t know if it was the sleep deprivation or the fact that he truly did seem a little arrogant that stemmed your next response as you spoke.

“I don’t even know you.” You said bluntly, and you meant it disrespectfully.

“Not yet.” He said slyly. “But I’ve seen you around campus a lot.”

You stood still, pondering again if you had actually seen him before. Wait- wasn’t he in your political science class? You put a finger to your chin before finally igniting the imaginary, anxious little light bulb above your head.

“Professor Edamura’s class right?” You were such a lecture worm in that class, and the professor had yet to start group assignments. You had absolutely no need to befriend anyone  in that class yet. Nonetheless, it was your largest lecture class this semester, and you only met once a week. 

“Bingo.” He grinned.

“There’s like 120 people in that lecture.”

“Yeah. But I think you’re the cutest.” You stared at him, dumbfounded and blush stuck on your cheeks.

“Thank you,” you say, squeezing your arms around your book and pressing it towards your chest. 

“Oh look, the rain is stopping.” He says, leaning forward and intently staring out the window.

“Well, see you Wednesday.” He smiled a cheeky smile.

You felt like a child, blushing foolishly whilst you watched him walk out and down the street. 

You almost wish you hadn’t met him.

Days would go by until you saw him again. He made his appearance on Wednesday, at 2pm in Professor Edamura’s class. He sat beside you, offering you a wink before taking out his own computer beside you and your own. Aside from a greeting, he didn’t say a word until the lecture ended. You really had spoken too soon about not befriending anyone, because you had gotten slurped up into a group project with  4 other people.

“So, Friday night, we could all go to my place.  I don’t live too far from here.” You wanted to meet at the library instead. Why did he want to go to his house? However, it seemed he was a rather popular guy and everyone loved him. You learned his name was Gojo Satoru. And then you lost the vote 4 to 1. 

You couldn’t help but roll your eyes as the women in your group swooned at him as he talked. This sucks.

All of you created a group chat in which you sparked ideas for the project’s format. You honestly think the other girls in your group were just more excited they had his number. 

Thursday night came, and you were in your robe and face mask when your phone went off. You blinked repeatedly, realizing Satoru had texted you directly and not the group chat.

Heyy

Hey, Is everything okay?

Yeah, I honestly just can’t wait to see you tomorrow.

You stared at the message, absolutely not having time for his shit. You didn’t respond. Rather, you went in your settings and purposely turned on read receipts and went to bed. 

You wished you could’ve left him on read in real life too as you sat on the floor pillow in his living room the next evening. The other three group mates bailed, texting the chat just 20 minutes after you got there.

“Guess it’s just the two of us,” he chuckled. 

“Don’t look so happy about it.” You rolled your eyes. This project was 30 percent of your grade, you wanted to punch someone.

“I can’t help it,” he says, sitting across from you on a different floor pillow. “I won’t lie. I had been thinking of asking you on a date. I didn’t think I’d get so lucky.”

“And did you text the other girls in our group the same thing the night before?” You say, nonchalantly opening your book. You didn’t even look his way.

“No, they’re incredibly annoying.” He sighed genuinely. You finally looked at him. They were pretty annoying. Because of them, you were sitting across from him with nothing separating you but an extremely expensive coffee table. The library would’ve been better.

“You’re pretty cool though. Kind of bummed you didn’t text me back.” 

“Because I know what you’re up to.” You say, scribbling away in your notes.

“And what might that be?” He takes off his shades, putting them on the glass coffee table. You’d never forget the way he stared at you with his mesmerizing blue shells.

“I’m not going to fall in love with you. I don’t have time for that.” You firmly set your pencil down, looking at him. 

“I don’t exactly want you to.” He chuckled. You looked at him before speaking again.

“So what do you want from me?” You say, placing your face in your palm and leaning forward a bit to look at him directly. The intense stare you had was sure to ring out the truth from his lips.

“I said I wanted to take you on a date.” He laughs. “Get to know you a bit, but ultimately take you to bed at the end of the night, if you don’t mind. You can decline, I just wanted to show you a good time.”

He just blatantly asked you to sleep with him. Somehow, you admired that. You hated people that wasted your time. At least this way, you felt like you had some power in the situation. You could decline him or not, and you knew exactly what would become of your situation-ship if you started something.

“Sure,” you say calmly, to his surprise. You shift yourself around the table, right beside his body.

“Seriously?”

“Seriously,” you took hold of his jaw, delicately planting a kiss. He had no idea you were so confident. He only had a girl initiate the kiss once before. Your lips were incredibly soft and pillowy. He was already hard, wondering just what your sex was like if you kissed him like this. The semester’s stress had gotten to you. You were only hoping he could help you unwind.

You shifted over his body, straddling him against the bottom of the sofa. You’d give him exactly what he wanted.

“You better be good at this, or don’t even bother looking at me after we finish this project.” You break from his lips. 

“Oh princess, I don’t ever disappoint.” He smirked. You were alarmed at his strength when he lifted both your bodies off the ground. He sucked in your lips, kissing you firmly as he brought you to his bedroom. 

That night, he gave you the best sex of your entire life. He wasn’t lying about not disappointing you.

You remember the day you guys finally had to present your project, which didn’t come out too bad. Satoru had seduced the girls who didn’t show up on Friday into doing majority of the work. You remember him telling you that they deserved it after you attempted to nag him for messing with them like that.

“You and me worked hard last Friday night, right princess? So what’s the big deal?” He whispered into your ear while you all gathered in front of the lecture. You presented your part that you did on your own with constant red hues plaguing your face. You wish he waited to say that after the presentation. Now, you were worked up again. The events of skin touching skin had been stuck in your mind. 

You couldn’t get his extremely large hands and hot body out of your head. For something that was supposed to be a stress reliever, the thought of his sex lived on within you and it was getting annoying. He caught up with you after you rushed out the room as soon as class ended.

“You have time before your next class?” He peered down at you, grinning a sexy and devilish smile.

“Why?” You ask. 

“Let’s go grab a bite to eat, on me. I promise really do work harder than I like to show off. The thing I did for the project isn’t really my character. I just didn’t like how the other girls were going to push all the work on you.” 

He sounded genuinely sorry for the situation.

“It’s fine. They deserved it anyway. They never replied to me when I texted them. If it wasn’t for you using your ‘sexiness’ to make them get busy, we would’ve gotten a shitty grade for sure.” You used air quotes around the word ‘sexiness’.

“You think I’m sexy?” He said smugly.

“Of course that’s all you picked up from the entirety of what I said.” You rolled your eyes, and he laughed a hearty laugh.

“Obviously,” you say quietly, he almost didn’t hear you. 

“You’re so fucking cute,” he said, laughter dying down. You had this annoyed blush on your face as the both of you walked. You did end up going out to eat with him. But somehow, you also ended up fucking him in the restaurant bathroom right after.

His hands squeezed your hips as you pressed you ass closer against him. You never realized you could feel so full. He slammed his length into you, while you shamelessly watched yourself pant beneath him in front of the mirror.

“You’re such a pretty girl, look how pretty you are. I wanna see your face again when you cum.” He coaxed you whilst gripping your neck. 

“Don’t be so loud though, then we’ll get caught. You don’t want this to end do you?”

Your juices were running down your weak legs, and you were holding back pleasure filled squeals while he rammed himself into you. It had been a while since you had been fucked so well aside from last Friday. And something about the thrill of someone knocking on the door, which wasn’t even locked, helped you find your climax during that 10 minute session.

You called out his name as you clenched around his length, causing him to throw his hand over your hot mouth.

“Shhh,” he shushed you as he lifted your body towards his own. 

“We won’t be able to do stuff like this in the future if you’re so loud.” His hot breath poured into your ear. Your knees were burning, but the pleasure in your core was enough to over shadow it. You were ashamed to admit it, but you were cumming again onto his dick.

“Satoru, my legs...” you muffled against his hand.

“I’ve got you sweetheart, don’t worry.” His thrusts were quickening and you felt him twitch inside you. He released himself into the rubber he wore before removing his member from you. You collapsed your upper body onto the sink for support.

He was incredibly sweet somehow, sliding your jeans and panties up for you. 

“Can you walk?” He asked.

“I can manage.” You say, stumbling back against his chest. He caught you whilst you buttoned your jeans. 

“The look on your face is priceless.” He said, looking at you in the mirror. You were a disheveled blushing mess, but somehow you were scowling at him for making you cum in such a short time.

“You can hold my arm for support,” he watched as you fixed what you could of your top and hair. 

“Shut up.” You said, wrapping yourself onto his arm and exiting the bathroom.

Sex with him was filled with plentiful moments like this. He would spontaneously show up around you, asking to hang out. It helped out a lot, considering you were less stressed and chirpier, your friends noticed. A little bit of dick does everyone good sometimes. 

You did your best to keep it strictly sex related, and you felt like he was casually following whatever you wanted to do. He was a decent friend, listening to your qualms about school and your other friendships. He took in a lot of stories and life situations from you, but he rarely ever talked about himself. You had slept with him countless times by then, but you really knew nothing about him. The thing that made it worse is that he started to sex you more passionately, stirring your feelings in a bunch.

He towered above your body in the dark moonlit room. It was another Friday, and you were lost in his sex yet again. He was so close, kissing and sucking your lips til they were sore and bruised. He dragged his mouth against your neck and down to your chest. You didn’t know what had gotten into him, but he was keen to keep the space between you as close as possible. You hadn’t see him all week, and you both didn’t have any classes together this season. The spontaneous adventures became more planned due to your busy schedules.

He inserted himself into your warmth, making you arch your back and press your breasts to his chest. 

“Fuck, I missed you.”

Your entire head was hot from the whisper he made into your ear. You wished he wouldn’t say things like that. It was starting to fuck with you. You let out a moan as he filled you up completely, grinding your sex towards him from underneath.

“It looks like you missed me too,” he chuckled. Your sex was loud and wet. You couldn’t lie to him even if you tried— your body wouldn’t let you.

You found yourself moaning how much you missed him as he rolled into you endlessly throughout the evening. 

“I know baby,” he placed sweet kisses against your face and neck, “I know.”

You chose to block this specific memory out whenever you told your friends this story. He had sexed you like he loved you that night and you had too many orgasms to count.

You awoke in the morning with him clinging to your naked body. It really wasn’t the first time something romantic like this had happened but it was the first time you felt provoked to say something.

“Satoru...” You said against his hair. He grumbled a groggy hum into your neck. You didn’t know if this was the right time to say it, but you were tired of the subtle hints of affection he had been mixing in with all the lust. 

“It’s getting hard for me to keep this relationship strictly sex based,” you begin.

“I really do want to get to know you more. But sometimes you throw me these mixed signals and I get confused.” 

He sat up, bringing his blue gaze towards yours.

“Then we should stop.” He said bluntly. He wasn’t asking you either. 

“We should,” you sort of agree, confusedly.

“I had a feeling this was going to happen.” He said, tearing himself from you. 

“But it’s cool. I’ve got somewhere to be. You need a ride home?” He asked. You nodded. That morning for the first time in a long time, you both got dressed together in solitude. There was no banter, no joking around and none of the occasional compliment or kiss.

He drove you home, in comfortable silence on his part. When you both of reached in front of your house he finally spoke.

“Don’t look so down, honey. At the end of the day, you were just a warm body to me. Cheer up though, you served your purpose.”

You could’ve cried but you knew exactly what this was from the beginning. Was it possible he was starting to feel something? And this was his way of running from it? You stared at your lap. There was no point of trying to read too hard into it now.

“Thanks for the ride.” You say, shutting the door. He watched you walk into your house. He hadn’t known you were so sensitive considering the persona you’d been giving him since the very beginning. He would never be able to apologize to you for it either— he had too much pride.

He never texted or called you after that. Not that you were surprised, you knew he wasn’t the one for you. He was too secretive despite his outgoing nature. An experience it was, you thought it was fun. You did your best to look at the situation as optimistically as possible.

Whenever you saw him on campus, you didn’t even bother looking at him. You walked right by him. He knew better than to speak to you. One day you were sitting in the cafe you first met him in. It was raining just like it was last year. You knew he saw you scribbling away through the glass window. He entered anyway, with a brunette attached to his arm. She laughed loudly as she pressed her breasts to his bicep. You casually sipped your iced coffee, eying him briefly before returning to your work.

He was pretty ballsy.

“You okay babe?” Suguru slid his large hand over yours, breaking you out of your thoughts. 

You hummed in delight, watching him take hold of your hand and press your knuckles to his lips. 

“When you’re done, how about we go to that Hibachi place you like?”

You held back an excited squeal at the dark haired male in front of you.

“I’d like that a lot.”

part 2

[rayofspades]

How to Write a Horror Story: The Magnus Archives

This post is kinda weird since most tumblr fandom content is based on the assumption that Everyone Has Seen The Thing, but since this is a transcript of a video essay, it’s more broad. 

I might link the video in a reblog since, you know, tumblr doesn’t like links.

Anyways, here’s the post:

Hello Jon, apologies for the decep-

I’ve seen a lot of mystery shows in my day, and some supernatural shows, and the common thread between them is that they kind of...fall apart as they go on. 

Obviously, this is a generalization and I haven’t seen every mystery show or every paranormal show, but it’s a pretty common problem. 

At this point in pop culture criticism, it’s basically common knowledge that these shows fall apart due to a lack of planning. If a mystery series is making shit up as it goes along while trying to surprise the audience, it’s going to stop making sense at some point. And if an episodic paranormal show is constantly trying to up the stakes, eventually it’s going to become absolutely ridiculous and stretch the audience’s suspension of disbelief past a breaking point. 

Other people have already talked about this stuff to death, but today I want to talk about a paranormal mystery show that actually succeeds at what it set out to do.  

The Magnus Archives is a podcast written by Jonny Sims and directed by Alexander J. Newall. It ran from 2016 to 2021 and it’s...really really good. It’s an episodic horror story, taking place at the fictional Magnus Institute where the head archivist reads various statements about people’s encounters with supernatural entities. It’s got it all; scary stories, mystery, an overarching plot, office comedy, office romance, office tragedy, a villain that’s making straight men everywhere question their sexuality, and an overall really solid structure. 

If you listen to the Q+As put out by the writer and director, you’ll hear them talk about how they planned the series from the beginning, setting up the layout for each season. Some things were definitely changed throughout the actual writing process; that’s just inevitable and necessary when you’re working on a long running show, but in a general sense, they knew where they were going. But, writing a good story doesn’t just involve knowing where you’re going; it’s about executing whatever plan you have effectively. And I think the execution of The Magnus Archives is pretty brilliant, so I want to talk about it. 

And for the record, I said “brilliant,” not “perfect.” I do have a lot of criticisms of this show, and I’m definitely going to talk about those too, because honestly? Even the problems with this show are interesting in their own right. 

Ok, let’s go. 

Oh, spoilers by the way. For the whole plot. Whole thing. 

Part 1: Horror and Mystery 

Ok, so The Magnus Archives has two separate plots going on: the episodic stories that can be listened to individually, and the underlying meta plot. The former is where most of the mystery storytelling takes place, and it’s a really engaging mystery. It’s starts off slow, and almost undetectable at first. The main character, Jon, also known as The Archivist, is just reading out old scary stories that people have delivered to the Magnus Institute. Stuff like; a college student sees a ghostly inhuman figure asking for a cigarette, a woman’s fiancé dies and she finds herself trapped in an empty graveyard, there’s this goth kid who apparently murdered his mother and then skinned her? But she’s kind of still alive? What the f*ck? Hope we never see that kid again. Also, this “Jurgen Lietner” guy wrote a bunch of cursed books and Jon knows about this? Are more books gonna come up? And then you’re like, wait is the goth kid who killed that burn victim the same goth kid who killed his mom like 8 episodes ago? Holy shit the family of that girl’s dead fiancé FUNDS THE MAGNUS INSTITUTE? Did this famous youtuber meet one of the missing people from episode one? The goth kid is back and he’s looking for Leitner books? The name “Michael” has come up like 6 times? Are they all the same guy? I just—who the f*ck is Jurgen Leitner? 

So yeah, as you can see, a lot of these stories connect in cool ways, and I’ve only mentioned like, 0.2 percent of all of those connections. Furthermore, these stories are told out of chronological order, and sometimes the same scenario appears in more than one statement, told from different perspectives. This asymmetrical storytelling and odd doling out of information creates a mystery that’s really interesting. It also makes for a great re-listen, since you can retroactively see what elements were set up before you even realized that they were going to come back.  

The audio format contributes to this too; you can’t just see that the table from episode three matches the pattern on the box in episode eight. You have to pick up on clues that were mentioned and pay attention to what people are describing, and it’s highly rewarding when the pieces all start to fit together. 

There is a bit of a downside to this though. Technically The Magnus Archives is a horror story first and a mystery second, and these two elements can mesh in weird ways. 

The horror is element is really strong. Each story is completely different, sometimes focusing on psychological horror, body horror, or supernatural versions of more primal fears like heights, darkness, enclosed spaces, etc. Basically, if you’re afraid of anything, there will be at least one episode of The Magnus Archives that gets under your skin. 

Jonny Sims can really sell his stories through both his writing and acting. He plays Jon, by the way, and plagiarized his own birth certificate for the character name. (For future reference, Jonny is the actor, Jon is the character). Overall, he’s really good at writing prose, and each narrator has a very distinct voice even though the large majority of the stories are being read by one character/actor.  

Obviously not every episode is a bull’s eye. Sometimes it’s due to the subjectivity when it comes to what you as an audience member are scared of, and occasionally it’s just weird writing decisions. I’m thinking specifically of episode 21 where the line “the sky ate him” is said, and it is the worst line in the entire show. The whole goddamn show. That’s it. That’s the number one worst line. 

But still, overall, the horror storytelling is incredibly solid, and some episodes even gave me brand new fears, like the unholy isolation of being in space, or the concept that someone you love could be replaced by someone completely different without you noticing.  

But here’s the thing; 

A lot of good horror is based on the absence of explanation. Most of the episodes that gave me the most visceral reactions of genuine terror come from the first two seasons, because that’s when the audience has the least amount of information. 

For example, in episode two, a really terrifying coffin is introduced. It’s creepy, it reacts very strangely to water for some reason, and appears to compel people to try opening it. By the end of the episode, the audience never finds out what’s in that coffin and that is a good thing. That is a huge part of what made that episode so unnerving.  

And then a few seasons later, we do find out what’s in the coffin, and to be fair the answer is both very creative and very scary, but it also takes a lot of the punch out of episode two. 

 No matter how f*cked up your thing is, it’s not going to compare to whatever the audience can conjure up in their own mind after such a creepy set up. This problem isn’t just stuck in this one scenario either; there are a lot of early episodes that, while still good, seem a lot less creepy in hindsight after you learn more about the scenario. 

I don’t think it’s bad writing, but I do think it’s a double-edged sword. Jonny Sims even mentions this sort of issue in the first Q+A. 

But yeah, to sum up; the narration is good, the ideas are creative, and seeing the mystery unfurl itself is deeply compelling. And for the record, the mystery elements aren’t of the Sherlock Holmes variety. It’s less about finding out who did the thing, and more about discovering how all of these individual points are intricately connected, pulling on each other as they move. Woven together like a... oh shit what’s the word? Gah, it’s on the tip of my tongue. Ah, whatever, I’m sure it’s not like a running motif or anything.  

Part 2: Stakes 

One of the main reasons I stopped watching Supernatural is that it devolves into complete f*cking nonsense. At the end of season five, the boys literally defeat the devil, and then the show...keeps going? Which would be fine. It’s also, largely, an episodic show, so if they have more creative ideas, they could definitely keep going with it. In fact, there are some post season five episodes that I thought were pretty good. But as they kept trying to outdo themselves with Bigger Bads, it got kind of difficult to suspend my disbelief. And the final nail in the coffin for me was the end of season nine, when Crowly basically points out to the audience that the main characters keep dying and coming back to life, so there are no stakes. The most-badest bad guy can always be defeated because some new Thing can just come out of left-field, and dying isn’t even on the table as a threat since people have tons of ways of coming back to life. 

The Magnus Archives, while being a show based in the supernatural, notably doesn’t bring anyone back to life, even though some very beloved characters die. I say “notably,” because in the season three Q+A, Jonny even says, “We make a point not to bring people back from the dead in Magnus, I know it sometimes feels like that, but we are very careful to never actually resurrect anyone.” 

Upon listening to this I said “oh my god, these guys are the only writers left who at least kind of know what they’re doing.”  

Also, as far as plot progression goes, The Magnus Archives is lowkey structurally perfect in the way the threats escalate in the underlying plot; both in terms of destruction and power and in terms of emotional consequences. Season one starts off with one major threat that’s dealt with by the end of the season, season two reveals the main villain, season three lays out the grander forces at play, season four ends the world, and season five is about un-ending the world. The difference between season one and season five is vast, but how we got there makes perfect sense. 

As for the emotional stakes, let’s talk about themes and characters. 

Part 3: Themes and Characters 

At the very end of season two, it’s revealed that the supernatural happenings in the Magnus universe are the result of entities far beyond our understanding. Since their existence is so fundamentally different from what we can comprehend, they interact with the world through cursed items, creatures, and humans who have dedicated themselves to an entity.  

A lot of people read this as a metaphor for late-stage capitalism, and I am one of those people. A bunch of faceless entities exploiting humans through means of dehumanization and causing people to suffer because it feeds them seems like an appropriate metaphor. 

While we’re on this topic, I do want to talk about Elias, since he’s the main villain of the entire series and also one of my favorite villains of all time. The Magnus Archives is a series that deals with a lot of moral questions and has a lot of characters who do morally questionable things, so one might assume that the villain of said series is, you know, morally ambiguous and sympathetic to some extent despite being “the bad guy.” 

Nope! No stops, full bastard. It’s great. 

He falls under what I’ve deemed the “unbeatable boss” archetype. He just doesn’t tolerate insubordination or resistance, and that combined with his lack of empathy means that anyone who crosses him is either killed or brought to heel. His power set is cool too. On the surface the ability to see out of any eye and read minds sounds useful, but not deal breaking, but the way he uses that power to manipulate people and anticipate threats...yeah, it makes him kind of impossible to beat.  

He’s just...so evil and he loves being evil and every single f*cking thing he does pisses me off and makes me want to kill him. It’s. Great. 

Anyways, I think Elias’s role as the central antagonist is what makes the capitalist reading so common. He’s the head of the institute, he’s wealthy, he’s powerful, and he dehumanizes people in ways that are both brutal and chillingly indifferent. He seems like an appropriate stand in through that lens. 

I also love how voice actor Ben Meredith plays him like’s he’s trying to seduce the audience.  

With all of that said, I wouldn’t call this the critique of capitalism a direct allegory or anything; in much looser terms, this could be a metaphor for any power structure that exploits humans. Organized religion or cults might be even more on the nose, considering there’s a lot of mentions of rituals and worship within the show. 

But if we boil it down to its barest aspects and focus on the avatar characters, The Magnus Archives is a series about people becoming monsters. Or, at the very least, becoming worse versions of themselves. That can mean a lot of things to different people in a metaphorical sense; the tense relationship between desperation and morality, the eagerness to please at the cost of one’s own mental health, the psychological traumas that lead people down dark paths, and how personal choices can still be dictated and manipulated by outside influences. It’s kind of heavy stuff, but put into a digestible package through the show’s abstractions. 

Well, for the most part.  

There’s some debate as to whether or not Daisy’s arc was handled tastefully. While her demise and Basira’s character arc were clearly meant to condemn police brutality and the deeply corrupt system that allows it to foster, it’s still a weird subject to discuss in such a fantastical context, and there is a strange sympathy for the devil angle that can get kind of uncomfortable for some listeners.  

Okay, stepping back from that for a bit, let’s talk about Jon and how he fits into this whole “people becoming corrupted” thing. 

Jon has one of my favourite brands of character arc, which is one based in deterioration alongside growth. The most obvious way this takes form is his departure from humanity as his relationship with the Eye drives him to psychologically harm others, and he finds himself sympathizing more and more with the people he was afraid of, stating in episode 152 that anyone listening to his recordings might compare him to the other avatars that have had their minds and morals twisted. 

Over the course of the series, he is repeatedly traumatized and the show makes a point that he is being both physically and emotionally scarred. These happenings are what drive his motivation for revenge in season five, and he even states that revenge is making him a worse person. As a character he’s constantly berating himself and his own monstrousness, much to Martin’s dismay.  

That’s why the finale destroys me in the best way. Upon seeing that Jon has betrayed him and basically given himself over to the Eye, Martin asks “how much of you is even left?” And when Jon tries to reassure him that he’s still himself, Martin’s response is “how would you even know?” This cuts through me every time. Up until this point, Martin had consistently stood up for Jon and Jon’s humanity, even in the face of Tim’s doubt, Basira’s mistrust, Elias being cryptic, and Jon’s own self-hatred. This is the ultimate breaking point, the point where even Martin, the love of Jon’s life, doesn’t really recognize him. It’s brutal. Because at the end of the day, Jon is still himself; he’s a deeply broken person trying to make the right decisions.  

We’ll come back to the finale later, but for now I want to talk about the romance. 

Jon’s emotional growth throughout the series is largely tied into Martin. Martin’s the first person that Jon really opens up to, and this later grows into trust which then turns into a genuine emotional connection.  On the flip side, Martin’s growth in season four is largely tied into Jon. Martin starts season four basically waiting to die, but Jon’s return gives him a reason to keep living, and he’s later able to recognize his own value outside of the pure utility of ‘you need to set yourself on fire to keep everyone else warm.’ Both of them give each other reason to push onward despite everything becoming more and more hopeless.  

It’s a good romance. I wish the two had had a few more scenes together before the culmination, but it is built up over the course of four seasons and comes together in an utterly fantastic confession.  

And yeah, the scene with Martin and Jon in the Lonely is cheesy as hell, but it is the highest quality of cheese. These are some gourmet nachos.  

Umm, also kind of stating the obvious here, but it’s also pretty cool that the main character in this horror story falls in love with another man. You don’t see that a lot, and it’s cool that no one even makes a big deal out of it. It’s just a normal romance, but with two guys. It’s nice. 

So, they go to Scottland, they hang out, they’re in love, Jonalias starts the apocalypse through Jon, the world ends, and season five starts! 

...Let’s talk about season five! 

Part 4: Season 5 

At the very start of this post, I said that supernatural mysteries tend to get worse as they go along, and I am deeply sad to report that I don’t think that The Magnus Archives is an exception. It just goes downhill in a very different way than its ilk. 

And, so we’re clear, I don’t think season five totally tanks or becomes unlistenable, it’s just, in my opinion, notably worse than the rest of the show. 

As discussed earlier, it doesn’t fall apart due to a lack of planning; everything still makes sense, but the presentation has changed drastically. The episodic statements are no longer scary stories, but more like slam poems about the various hellscapes that Jon and Martin are trekking through. Honestly if these were published in a book of slam poetry, I would probably think they slapped pretty hard. I genuinely believe that Jonny Sims is a good writer, but as a podcast a lot of these statements just made me zone out. There’s at least four that I don’t even slightly remember. Myself and many others have noted that they just...aren’t scary, unless there’s a specific episode that really gets under your skin due to a certain fear or phobia. 

To quote my friend, “it’s harder to feel a solid impact when the setting is literally divorced from reality. People would either go numb or insane to the point where their fears become unrelatable.” 

And, to be honest, I think that this same surreal odyssey set up could have worked with a slight shift in narration. Two stand out episodes for me were “Strung Out” and “Wonderland.” Both of them show the tormented target actively trying to resist and interact with their tormenter, instead of just trying to escape or live through their situation. “Strung Out” is also more of character study; you learn about Francis’s life before the apocalypse through their interaction with the Web hellscape. Meanwhile “Wonderland” is just...f*cked, and you get to see Jon take the perspective of first-person Bad Guy throughout the whole thing, which is its own level of disturbing. 

But the majority of episodes feel so abstract that I kind of forget the people trapped in them are supposed to be characters and not just concepts, so it’s harder to feel their dread and pain. 

But I’m still here for the metaplot, the drama, and the romance. And when that’s good, it’s great! I think the final handful of episodes are really solid in that regard. 

Buuuuuuut... 

A decent chunk of season five is dedicated to the “kill bill” plot. Jon discovers he has the power to smite people, and while at first, he’s embarrassed about this, since he actively enjoyed killing Not!Sasha, Martin is super into it! He’s encouraging Jon to murder people.  

This is actually the set up for a really good arc. As Jon gets more and more into his own avenging angel persona, Martin could get more and more disturbed by it so by the time they get to London, Martin could be really upset that Jon is so willing to wreak his own divine justice by killing or torturing all of the avatars. 

And this does kind of happen. We do reach this end state, and it makes for a good final conflict, but the way we got here was borderline nonsense. Thematic gibberish, if you will. 

Throughout the journey, Martin is clearly motived by a sense of justice; these people are bad, and so they should die. Whereas Jon is clearly more motivated by revenge; he only goes after the avatars that hurt him personally. At one point, Jon admits that maybe all of this killing isn’t making anything better, but just making him worse. Martin apologizes for egging him on, Jon absolves him by saying he started it, and then Martin’s like “I’ll keep my apology then.” This is the second worst line in the entire series, right after “the sky ate him.” And it’s close. 

But it kind of feels like we’re back at square one. Jon is back to being ashamed of killing and Martin is still keen on his justice stance, but now just less pushy about it. The arc is basically half resolved at this point. 

But then it doesn’t matter, because Jon kills Helen anyway. So, Jon’s back on his revenge/justice thing. Then what was the point of his earlier revelation? Why have that if it’s not going to matter and the conflict that was escalating still culminates with Jon leaning into the avenging angel stuff, and Martin being disturbed by it? It just makes both of them look like huge hypocrites! I f*cking hate it when they’re in the tunnels and Martin says “you weren’t meant to enjoy it this much,” regarding Jon’s smiting. Where did this come from?! Why didn’t you say this earlier? Third worst line in the series. 

And yeah, I’ll say it; the boys fight too much in this season. I loved their romance up to season five, and their cute moments and more lowkey serious discussions are still good in this season, but God, they fight so much. And I’m not saying couples can’t have fights or tension, that’s just realistic and also stories need conflict to be interesting. Jonny Sims is on the record saying that balancing a healthy romance with the stress of a literal apocalypse was a priority, and I’m sorry, but I don’t think it’s well balanced.  I’m just saying that sometimes it feels like they don’t even like each other and it really started to grate on me. 

Maybe it would have been better if the beginning of this season was dedicated to charming romance at first, so we as an audience could better appreciate how strong their love is and how it’s truly being tested. But obviously that was never on the table— 

ALEX NO. 

So, yeah, I have a lot of problems with season. I think it’s the worst one by far, even though there is a lot of it I still enjoy, including the ending. 

As I mentioned before, the moment where Martin confronts Jon in the panopticon absolutely kills me, and Jon’s reaction kills me even harder. Throughout the season, Jon had largely been motivated by revenge, martyrdom, and the subconscious call of the Eye, and all three of those factors led him to his position as the pupil. He’s getting revenge against the powers, sacrificing his humanity to get rid of the Fears, and taking his place as wearer of the watcher’s crown. But all of this gets thrown out the window when he realizes that Martin is going to die. And not only is Martin going to die, Martin is going to die specifically because he loves Jon and refuses to leave Jon alone to die horribly. Martin had always been an underlying motivation for Jon, his “reason” as stated in episode 167, but now love as a motivator has come to the forefront, and Jon can no longer go through with his plan because of it. But at this point in the series, they’re both utterly doomed, and Jon concludes that the only possible chance they have of surviving, however unlikely, would be to sever the pupil of the eye, technically killing Jon, but maybe, just maybe, allowing them to escape with the Fears. Whether that’s meant to be literal or more ethereal is left unclear. Hell, maybe Jon’s just making it up completely and creating his own potential happy ending. It’s a pretty potent ending in emotional terms; Jon has to release the Fears and Martin has to kill Jon, and those are the two things they were dead set on not doing.  

The Web, arguably the real main antagonist, basically won, and their manipulation of Jon worked. The destruction spread, and there is kind of a bleak underlying tone to that. 

But at least this ending has some semblance of hope to it. I’m not saying that releasing the Fears was objectively the correct moral decision; the entire point of the dilemma is that there was no objectively correct moral decision. But, while Jon’s solution does have merit, it was also the most hopeless. I think dramatically, any one of the choices on the table could have worked if the writing was well executed, but thematically this one seemed like the perfect combination of grim and optimistic. Like, all of the evils that plague humanity can’t just be defeated forever and things could get worse, but maybe not. Maybe everything works out... 

So yeah, The Magnus Archives...is a podcast. And it’s a really good podcast. Great, even. I can complain about season five all I want, but regardless of how that worked out, you can tell throughout the entire show that the people working on it were trying to tell a genuinely excellent story. 

It’s good. Go listen to it. Even though I spoiled the entire thing and if you’re still here, you’ve probably already listened to it. Listen to it again. 

[dgcatanisiri]

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.

[jadethest0ne]

35! Go for it! ✨

Oh right, for this ask game! I had nearly forgotten about it XD

35. Ramble about any fic-related thing you want! 

If there was one fic-related thing I’d want to ramble about it’d be specifically being a comic artist, and the different things I experienced going from the Pokemon fandom to the RotTMNT fandom as a comic artist.

I spent 5 years creating a Pokemon comic called “Liberty”, based on a nuzlocke playthrough of Pokemon Soul Silver (basically pokemon on hard-mode with permadeath involved for those of you who don’t know what a nuzlocke is). Meanwhile, it’s been just over a year since my first foray into creating comics for the Rise fandom.

The Similarities

The Disparity between Fanart and Fanfiction

Being a comic artist is odd sometimes because I basically do both fanart and fanficiton at the same time. I can understand and vibe with what a lot of both fanartists and fanfiction writers go through and deal with. This is why I feel like I can answer a lot of these fanfiction questions despite a good chunk of my story-telling being visual.

I am also aware of the disparity between fanart often getting a lot more eyes and attention than fanfiction. Deciding to write a piece of fanfiction instead of draw it out in comic format is often a calculated choice on my part, because writing prose takes more energy from me and often gets less rewards via views and interaction from readers. But despite it taking more energy, it takes less overall time for me to write something out than draw the same story, so I often factor that in when deciding which medium to create a story in.

I feel bad that a lot of fanfiction writers don’t get the attention that they deserve because of this disparity, so may I remind readers to please please PLEASE support your fanfiction creators and interact with their work! It seriously means a lot to them! Even a little message or a reblog will do! The main similarity between these two fandoms is this disparity, and I think it’d be awesome if we could get the number of interactions between fanart/fancomics and fanfiction to be more equal.

The Differences

I’m more popular as a Rise artist?

So, as I said, I spent 5 years making a Pokemon comic and 1 year creating a bunch of Rise comics. And yet I think I got more (or at least the same number of) viewers on my Rise comics in that one year than on my Pokemon comics in 5 years. I certainly got a similar number of followers, despite the differences in time. One of the main reasons for this is likely due to the social media platforms I posted on. I posted “Liberty” on deviantart and on the Pokemon Nuzlocke forums, the latter being particularly niche. As for my Rise comics and artwork, I branched out to other sites including here on Tumblr, Instagram, AO3, and Twitter (though insta got fewer comics due to the image size restrictions). The number and popularity of the sites I posted Rise artwork to are more than deviantart and that is likely a big reason. The other reasons for my increase in popularity may be for some of the other differences...

There aren’t that many comic artists in the TMNT fandom

I could probably name only a handful of consistent comic creators in, not only the Rise fandom, but in the TMNT fandom. And I mean the long-running, over-arching story type of comic creators. There aren’t that many of us. There are tons of artists and fanfic writers out there, yes, but very few that combine the two.

Meanwhile the Pokemon community has TONS. Especially the nuzlocke community. Heck, the Pokemon nuzlocke community started and was named because of a popular comic detailing the events of the creator’s nuzlocke challenge playthrough of Pokemon Emerald. You get a little bit more lost in the crowd amongst so many other comic artists in the Pokemon community, but at the same time have more people to learn from and relate to in that way.

My involvement with the Fandoms has been different

There’s been a lot of collaboration and working together among creators within each respective fandom. I feel like personally, a lot of my collabs with Rise creators has been a lot more direct and more personal than the kind of things I did in the Pokemon fandom.

For example, in the Pokemon comic fandom, it was really common to cameo each others’ characters in your comic, or include each others’ comics or characters in memes. This wasn’t always a planned thing, though we would ask each other for permission. I joined a Pokemon comic discord, but most of my interactions there and on other platforms involved brainstorming help. Not only that, but sometimes the community was a bit more competitive as well. For instance the Nuzlocke Forums would hold an “extravaganza” every year where folks voted on various categories to vote for the best nuzlocke (I won “Best Pokemon” and “Most improved” in 2018 :3 ).

Meanwhile with the Rise fandom, I did more things like art trades, collaborative art pieces, and zine work. These were a lot more direct and planned out and involved a bit more trust and interaction with other artists. I also became close friends with the folks in the discords that I joined as part of a Rise server, beyond just “fellow creator”.

As a result, I found myself doing a lot more serious artwork and even created other fics for the Rise fandom beyond just my comics, while when it came to Pokemon I stuck mainly to my “Liberty” art/comics.

More eyes, less interaction and visa versa

Again, this could be mainly a differences in what social media I’m using, but a big difference I found between readers of my work is that I got A LOT more people commenting on my Pokemon comic than on my Rise comics. I may be getting more views on my TMNT comics, but boy did I get more interaction with my Pokemon comics. I would get at least 5 people leaving these in-depth analysis or guesses of what would happen on each page for my Pokemon comic, not to mention the dozens of other reactions I would get in the comments. And despite that comic being on hiatus for a year, I still get some comments on it!

So, unless I know the commenter personally, I feel a little less involved with my readership with my Rise comics than my Pokemon one. Which is a little sad. I do appreciate you all who appreciate my work, but I feel like I appreciate you from afar and can only go “awww” at the things y’all leave in the notes or on the anonymous asks I get, instead of being able to thank you more directly.

Rise readers are a bit less patient

I get lots more people asking me “when the next page is coming” on my Rise comics and fics much more often than on my Pokemon comic. This virtually never happened with my Pokemon comic. Granted, I was way more consistent with “Liberty” and it had a set schedule, whereas my Rise comics/fanfics never have. But still.

I really DO NOT like those kinds of asks/comments. Please do not ask me when the next one is coming out. It makes me feel stressed and ashamed and pressured, which can create negative feelings around my work and make me less likely to finish them. I get that you’re excited, and that’s cool. But literally no one likes those kinds of comments.

For perspective, “Liberty”, my Pokemon comic, has been on hiatus for nearly a year and I’ve gotten maybe two comments to that effect, and they were newer readers who weren’t around at the time that I announced my hiatus and the reasons thereof. My “Liberty” readers have been so patient with me (bless them), and I feel a real loyalty to that kind of readership. I don’t know when, yet, but I really want to get back to “Liberty” someday, not just for myself or that story that I lovingly crafted, but also for them.

Pokemon was a hobby, Rise is a passion

Likely due to the fact that I have made a lot of close friends within the Rise community, and the fact that it has helped me immensely through this really tough year, I feel so much closer with the Rise creator community. Pokemon was a thing that I did for fun as a side hobby. My TMNT related comics and art have pushed me so much further in my art, gotten me involved in various projects, gotten me into creating animations, holy heck was I sucked into this fandom in such a short amount of time, and I love it so much.

I have been a fan of Pokemon since I was a kid, and I never thought I’d find a piece of media that would capture my attention and adoration as much. I think at a point when I was shifting from the Pokemon to the Rise fandom I said something along the lines of “I feel like I’m cheating on Pokemon with Rise”/j but it’s kinda true, haha!

In the end, both fandoms and the people in them mean a lot to me, and I’ve grown a lot from them as an artist and a person. I will be forever grateful to the other creators, readers, artists, writers, friends, collaborators, etc in both.

Thank you all very much!

[trainsinanime]

Okay, I promised, so let’s talk about NFTs, Non-Fungible Tokens, just for fun. What they are, what can they do, and why do so many people say you should or shouldn’t participate in them. I’m trying to provide a mid-level overview here: All the moving parts so you actually know how it works, but not too much detail. Let me know whether this works.

Blockchain

To start with, the whole thing revolves around the idea known as blockchain. A blockchain is long shared list of messages that follow certain rules, and a computer network that manages it. The messages are signed, which means you can use maths to prove that a certain message is really from a certain user (or someone who knows their password anyway), without any central authority. In the first and still most important blockchain, Bitcoin, the only message type is a transaction of the form „transfer X amount of money to user Y“.

These transactions get added to the shared list in larger packets, so-called blocks, and they get added one after the other, forming a chain of blocks if you will. That’s where the name comes from.

(Note that despite the name, there is no coin of bits anywhere, it's all just bank transfers. This system is known as a "cryptocurrency".)

Before a message gets added to a block, and before the network accepts a new block, it gets checked to see whether it matches the rules. For Bitcoin, the important rule is that nobody spends money they don't have. All the complicated parts of Bitcoin and other blockchains exist to enforce these rules even without any central authority managing it.

The energy problem

This following part is not directly relevant to how NFTs work, it's technically just an implementation detail. But one of the main talking points is the energy consumption, and this is where it comes from.

Since the network is decentralized, anyone can collect new messages into a new block at any time, and tell other computers about the great new block they just greated. That means there can often be multiple new blocks, and there's a question of which one is the "true" one. The general rule here is simple: Every block lists which block is the one right before it, forming essentially its own chain. The longest of these chains wins. The idea is that there may be some confusion in the short term, but in the long term, everybody can just see what the longest chain is.

There is a potential risk here, though: Suppose someone buys something with some bitcoin. The payment gets added to the list, the product gets delivered, everything is fine. And then this person suddenly reveals fifty new blocks they created in secret, and none of them include the payment. Since this is the longest chain, suddenly this one is valid. The original payment never happened, and the attacker has both their money and the goods.

To avoid this, there is a so-called proof of work mechanism: Creating a new block is made deliberately very hard. You not only have to collect the messages and check them; you also have to make up a random number, then do a lot of calculations on the whole block, and only if the result is below a certain number is the block valid. If the result is too high, which is very likely, you need to guess a different random number and do the calculations again, and you need to do that a lot.

The express purpose of this is to make it slow, difficult and annoying to create new blocks, so that nobody can do so just for fun; instead it takes actual work in the form of a powerful computer (or many powerful computers) spending a lot of time computing. And that means they will also spend a lot of energy doing this computing. That's where all the CO2 emissions are coming from. The amount of electricity needed by Blockchains right now is scary, and a good reason to avoid anything to do with them at all.

To ensure people still do these calculations, there are rewards for whoever creates a valid block first: Some bitcoin handed out automatically; plus, all transactions can (and in practice will) include a field saying „and also pay amount Z to whoever puts this in a block on the blockchain“. This whole process is called "mining".

NFTs

Some specific blockchains allow you to define your own types of messages with their own rules in the form of computer code. The rest of the network will see a message, see which rule sets applies, then see what rules apply, and use those rules to verify the message.  Such a set of messages and rules is called a „smart contract“. This is mainly a thing on the network called "Etherium", and this is where these non-fungible tokens come into play.

On Etherium, you can define a smart contract with messages like:

„Hey guys, I own whatever is at this link here:“

And later:

„Hey guys, remember that link I said I owned? Now this guy <X> owns it.“

You can send as many of those as you like. You will still need to pay transaction fees, of course.

That link (or some more-or-less random string of digits) is the non-fungible token that everybody talks about. Unlike money, you can’t swap it for a different one, or divide it or similar, because, well, you set up the rules so that you can’t. That’s what the „non-fungible“ part means. But that is all there is to it: A distributed list of messages saying „this person owns that link now“.

By the way, I’m mostly talking about art and digital pictures here, because that’s what the main discussion is about, but proponents of NFTs are also saying they could be used for tickets for big public events (remember those?), land deeds and so on. Which is technically true, but it’s unclear whether they are adding any value here, but that’s a whole other tangent.

This token has no legal consequence in itself. It’s just something someone wrote in a list. You can certainly agree with someone that you’re both going to honor whatever is in that list, but that’s something that you’ll have to do explicitly, ideally in offline writing.

The systems can be a bit more complex; for example you might add a message that is „give this link from X to Y, and this amount of money from Y to X“, signed by both X and Y. You can also include a rule that „every time someone else gets ownership that link, the first person needs to get some money, else the message isn’t valid“. NFT fans are very excited about this one. The idea is that the artist gets paid every time the NFT is resold. Still, the basic principle stays the same.

(In practice, the link is usually not directly to the JPEG file in question, but rather to a file describing the file, which includes a link to the file in question. There is nothing in the system that automatically makes sure both links will actually keep working; that part is up to you. There are solutions, but it’s not automatic.)

Digital Original

When talking about this, people will talk about concepts like „digital scarcity“ and „original“ and „authenticity in a digital age“ and so on. So there are a lot of relevant questions, for example:

How does the system ensure that only the original author can claim ownership over a certain link („mint an NFT“)?

How does it ensure that you can only claim a certain file once, instead of several times slightly altered?

How does it ensure that a file is only traded on one smart contract, instead of many different ones with different rules and different owners?

The answer to these question is simple: There is nothing ensuring any of that. Is is just as easy to claim ownership over a file that someone else made as it is to claim ownership over a file you made. And no part of the system actually looks at the file itself; it’s just a link or an identifier. Fraud is easy and common. I’m not even entirely sure whether it technically counts as fraud, since these NFTs are legally meaningless, but you should probably ask a lawyer first if you’re planning to do something like this.

That way, NFTs are arguably ignoring the question that they claim is the whole point. What does „original“ even mean with things like digital art? Arguably the closest thing to an original is the representation in the artist’s computer memory. If it gets saved to a disk, that’s a copy. If it gets transferred to a server, the server holds a copy in its RAM, then copies it to its disk, then later copies its to its RAM again, and then whoever looks at it online downloads a copy, and probably decodes that copy (in JPEG format) into another copy that the screen can actually show… it’s all a big mess of copies. NFT’s solutions to that is to just say „this here’s the original because I said so“, and hope that enough people listen and pay money for it.

The economics

Does this really represent a new opportunity for artists? Well, maybe; there are a lot of crypto bros right now spending money on NFTs simply because it’s cool. Whether owning an NFT of something has any long-term value, let alone whether that value goes up over time, is something that remains to be seen.

You will find a lot of people arguing that it’s a scam, or a money laundering scheme, and honestly, it might be. You can’t exactly pay a lot of things with cryptocurrency right now, so everybody who has some needs to find someone to trade real money for it if they want to do anything useful. The NFT hype can definitely lead to more people buying cryptocurrency to participate in it all, which helps mostly those people who have a lot of it. I don’t think NFTs are an illegal scam, but obviously that’s not the same as a good idea.

Suggestions

I’m not an artist, so I don’t think I’m the most qualified to give suggestions here. But I don’t see why I should let that stop me.

Should you get involved with NFTs? That’s honestly up to you. If somebody offers you money (ideally actual cash) for you to create a picture that they’re gonna do an NFT of, I’d say consider it. The environmental impact is really that bad, but hey, it’s money.

If anybody is asking you to first buy some cryptocurrency to participate, though? Better run.

At the end of the day, whether people value the work of artists is sadly down to their personal opinions. Whether NFT will change that is, at best, a long shot. If you have people who are willing to pay for your work, having them pay you directly through commissions or Patreon or whatever seems like the best bet to me, because there’s no massive environmental impact and you’re not tied to volatile cryptocurrency exchange rates.

And if you’re interested in buying NFTs: I wouldn’t, but it’s your money. Just be aware of what it actually is you’re buying.

[lesliermoorman]

How Sham Jaff used consistency and purpose to build a career out of an email newsletter

Sham Jaff grew up in Kurdistan and Iraq before moving to Germany. In September 2014, while studying political science, she decided to start an email newsletter to solve a problem she had observed: mainstream media coverage is usually told from a local, and often Western-centric, perspective, giving people an incomplete and often warped view of other parts of the world. Sham created What Happened Last Week, an email newsletter providing 'alternative' weekly news summaries from a global perspective, in a friendly format accessible to everyone. Six years later, with almost no marketing and an anti-growth approach, she has more than 10,000 subscribers in over 120 countries, and is able to do something many dream of: work on her newsletter full-time. Here are my takeaways:

1. Community over growth

Sham describes her growth strategy as "anti-growth". She doesn't focus on subscriber numbers, but rather on the depth of her relationship with her subscribers. She doesn't pretend to be anything but herself. She wants people to know it’s her, she wants the newsletter to reflect her personality. To do this, she writes about personal things, she asks people questions so that they feel comfortable answering. Although it's a newsletter, it's a two-way dialogue rather than a one-way content platform. At one point Sham created a small WhatsApp group with 20 of her subscribers to get their feedback on her website relaunch. "It was very helpful for me, I think I did everything they said".

2. Solve a problem that matters to you

Sham didn’t start her newsletter to try and make a living. She started it to solve a problem she that bothered her – world news and political coverage excludes people. She views this as undemocratic, and wants to fix it. She kept it going over the years because she believes in this underlying mission. Being mission-driven enables her to weather the inevitable patches of self-doubt and low motivation.

3. Don't forget about offline

Yes, remember that old thing? The physical world? Sham made small business cards with fun world facts on them, and left them places – subways, bus, bookshops, restaurants – whenever she was travelling. “Hey if you find this, subscribe, and let me know where you found it” – a lot of people came from this cool marketing campaign. Which also gave her a more diverse readership.

4. Referrals work if you have a good reward

Sham worked hard on creating an annual review e-book, and told people they could get it if they told at least 3 people to subscribe. She got a load of positive feedback and at least 1000 more subscribers. But, she warns, “only do it if you have time and are sure of the product you’re giving out for free”.

5. Become a thought leader

Sham may not use typical growth tactics, but that doesn't mean she shies away from opportunities. She started out being interviewed on podcasts, and this led to regular interviews with German newspapers, and eventually to her becoming a columnist and supporting other podcasts with editorial work.

Hey if you find this, subscribe, and let me know where you found it” a lot of people came from this cool marketing campaign. Which also gave her a more diverse readership.

">Follow Sham on Twitter What Happened Last Week

[askkrenko]

Krenko’s Guide to Creature Types: Elf

Art by  Scott Murphy

What is an Elf (flavorfully)?

Elves are basically just better humans. They don’t have any cool abilities or traits that humans don’t have, but they live longer, have better senses, are stronger, faster, wiser, prettier, and just all around superior. Except none of this is translated into mechanics and most of this never comes up. The vast majority of the time, Elves are just Humans with Pointy Ears that happen to be more in tune with nature.

Elves are consistently disappointing as a flavorful, narrative device, and only Lorwyn//Shadowmoor really put forth the effort to make its elves their own unique race with an obviously non-human culture and more distinct visual differences. 

What is an Elf (mechanically)?

Elf is the undisputed green characteristic race, appearing on nearly 400 cards at the time of this writing, the vast majority of them green. Elves tend to have low power and toughness, and a significant portion of Elves either generate mana or interact with land in some way. Historically, this was obviously an Elf ability, but since the Grand Creature Type Update, it’s a bit fuzzy whether the ability is more tied to the Elf race or the Druid class-  almost a quarter of all Elves are Druids, and Druids almost universally interact with lands. Still, many Elf Druids were originally printed as just Elf, and there’s enough non-Druid Elves with mana and land interaction that we can say this is a part of what Elves do.

As a characteristic race, Elf has a lot of variety, and tends to pick up a lot of random abilities, so actual Elf identity is pretty loose, but generating mana and going wide with small creatures tends to be pretty common.

Pictured: My personal favorite mana-generating Elf Druid

Can I make an Elf deck?

If you’ve played Magic long enough, it’s hard to not make an Elf deck at some point. Elf is one of the tribes with the most rewards in the game. Elves are solid in Legacy, Modern, and Commander, and have frequently been top-tier Standard decks. Traditionally, Elf decks involve taking advantage of extra mana to throw all your Elves onto the field as fast as possible, then using those Elves to generate enough mana to win outright, such as with Fireball, Ezuri, Renegade Leader or Craterhoof Behemoth. More traditional strategies, involving multiple Elf Lords, are also options. 

The most important Elves for constructed play are Heritage Druid, who in a roundabout way gives your Elves haste to tap for mana, Elvish Archdruid, who taps for mana equal to the number of Elves you control, and Elvish Visionary, who gets an Elf body on the board without costing a card.

Elf decks are always green, but the second color, if there is one, varies from meta to meta and even deck to deck. Lorwyn and Magic Origins made Black a popular choice, but there’s no wrong answer if your elves can make the colors.

With over 40 Legendary Elves, commander options for an Elf tribal deck run wide. Curiously, many Legendary Elves are not only not suitable for Elf Tribal, but are actually tribal lords of another type entirely. Thelon is a Fungus lord, and Tolsmir, Friend to Wolves is… well, no points for guessing that one.

Dwynen, Gilt-Leaf Liege, seems like an obvious option for a commander, but honestly, an anthem effect and incidental life gain is a bit small for the format. Dwynen is certainly a great card on its own, but it just lacks the oomf necessary to be a good commander.

Eladamri is sometimes a great Elf commander, if your opponent has forests, but the Shroud ability simply isn’t a big deal on weak creatures. Elves are weak to board wipes, not targeted removal. He’s great to run in an Elf deck, especially to protect your Commander, but as the Commander he’s too defensive.

Ezuri, Renegade Leader is probably the best mono-green choice for Elves. He enables an Elf deck to turn any excess mana into raw power and defense, protects your field from board wipes, and can sometimes manage to pull off games with Commander damage if too many of your other Elves stay dead.

Marwyn, the Nurturer can get some very high power and toughness in an Elf deck, and with proper equipment can ramp very hard and very fast. Unfortunately, she’s a bit fragile and doesn’t do anything the turn she comes into play, so she often winds up being too small for Commander.

Momir Vig, Simic Visionary, is actually pretty great as an Elf commander. There’s enough cards that replicate his second ability that he works fine with just green creatures, and adding blue to the mix enables a lot of solid backup plans and support cards. A Momir Vig Elf deck plays an Elf, tutors another Elf, immediately draws it, plays it, tutors and draws another Elf, and basically just vomits a board full of Elves. It can be truly terrifying to behold.

Nath of the Gilt-Leaf can create a lot of Elf tokens very quickly with the right cards, but he’s really only being mentioned here because he’s Black. There’s a number of Black/Green Legendary Elves, but Nath is the only one that specifically helps a normal Elf strategy.  Storrev, Jarad, and Izoni are all fine, and you might arguably want to use one of those instead, but the simple fact is that Black opens up a lot of power to go-wide creature strategies in its ability to recur your entire graveyard at once late game, and it has a lot of removal spells that Green simply doesn’t. 

Rhys the Redeemed creates Elf tokens, and this can work well in a go-wide Elf tribal deck, though I find he works better in a more generic tokens deck, using his second ability with cards like Advent of the Wurm.

Rofellos is banned. For good reason. Moving on.

Yeva, Nature’s Herald, is just all around good. Though she doesn’t have specific Elf synergy, she’s got a strong ability that works on Elves. She’s a fine choice for mono-green and creates a much more reactive, surprising deck than the all-in-and-pray Ezuri.

Is Elf a good creature type?

Mechanically, I really have no problems with Elf. It sits comfortably as a characteristic race, it’s featured a solid amount and has a wide variety but still manages to have its own identity (even if that bleeds in with Druid,) and it frequently gets support cards. Elf has been around since Alpha and has been doing Elf things since Tempest, and it honestly really shows. What’s especially good about Elf as a creature type is that despite being Green’s characteristic, Elf very rarely goes on those thick, aggressive, meaty creatures that Green is known for, making it very clear that they’re the normal people in Green and not the angry beatsticks… except when you put them on a Kavu. Personally, I refuse to believe the Elf Knight is a relevant part of Steel Leaf Champion’s power and toughness.

My only real complaint with Elf is in visual design. A significant majority of Elves are ‘humans with pointy ears.’ This is boring, and I honestly don’t know the significant biological differences between an Elf and a Human on most worlds. I don’t even know which one’s generally taller. Onslaught Block, Mirrodin, and Lorwyn//Shadowmoor gave us some great Elf designs, but on most worlds they look almost entirely human. Give me something lanky, something otherworldly, something hauntingly beautiful. Goblins get fresh new designs for every world, so why can’t Elves?

[arkus-rhapsode]

Ok. So what do you think of the latest chapters of fairy tail 100 years quests? What what's happening to characters? I think you're so possed that you even stopped reading more

Hoo boy... *Cracks knuckles* We may be here for a while.

So before I start, let me make clear that I actually keep up with 100YQ, though not for any actual interest anymore. I now stay with it for ironic enjoyment. Because I could say EZ has dumb stuff, but at this point, if you’re Hiro Mashima’s main audience, its fine. No, 100YQ is unique in that it has WTF moments that transcend just the FT fandom sensibilities.

Before I dig in, I’m gonna lay out some formatting rules because we’re cover A LOT. Im gonna be fair and split this up into positive and negative aspects of the series. Because I at least try to be intellectually in what I do.

To avoid from going on tangents and jumping around, I’m gonna be going in chronological order of events. Now this will not be an overview of the series up to this point because that’s stuff I’ve already talked about. Instead I’m gonna start from the point this went from genuine interest to ironic interest. That begin the Whited Out FT Guild.

Positives:

The concept of the wood dragon god having a kingdom on his back is really cool world building. Its actually something that I really liked about the Sea Dragon God as well. Having a realm reliant on the dragon as well as a reason to revere them. What with the water dragon god controlling the tides while wood dragon god is the supporting the city on his back actually makes them seem like god figures and adds to the lore of the world of Earthland in a way that Ishgar and Alvarez sorely failed at.

Laxus punching out Kyria. Petty yes, as Kyria is my least favorite dragon slayer. However a lot of Whited out FT mages were getting jobbered like crazy or just given unceremonious defeats. So Laxus actually seeming like an obstacle was good.

The cat twist with Touka is actually a funny bit of trolling and was one of the few times there was effective foreshadowing with Touka having a tail. (Too bad it was suck in the meandering Gajeel plot.)

The Dragon Eater guild is a much better final villain army than Spriggan 12. The 12 had little structure as to who was the stronger members, resulting in multiple Spriggans feeling like such major disappointments.

Most Mashima Villain organizations tend to broken up like this: Boss->Special Units (I.E Spriggan 12, Nine Demon Gates, Element 4)->Fodder Units.

No one cares when the fodder of a villain group is beaten as they’re just faceless minions. However, when you get to the special unit, that’s wheen there are actual obstacles and the villains start becoming more like characters. However, Hiro has been bad at this when he’s dealing with bigger organizations.

He never had to worry about telling you which member of the villain group’s special unit were more powerful than the others. Due to working with units composed of low amounts of characters, such as Team Lyon, Element 4, and Death’s Head.

You could say that all were roughly around the same power threshold. However, where the spriggan 12 royally failed was there were 12 of them in that unit and they were all just given the blanket term of being on the same level of the number 1 wizard saint. Yeah... that’s a check so large that Hiro could not cash it.

Hiro even seemed to retroactively acknowledge this by stating that August, Irene, and Larcarde were the three best to cover his ass for the fact that all the spriggans seemed to be jobbered far easier than ones supposedly equal to the number 1 saint.

However, the Dragon Eaters are opponents we’re gradually introduced to over the storyline and we actually see a demonstration of what a group of them can do, instead of 1 just trying take on all of team Natsu at once. We see that Skullion’s team is roughly equal to Team Natsu, giving us a gauge for the Dragon Eater strength, but then we get both Wraith and Nebal, underlings not part of Skullion’s thre man team, implying that are of a weaker variety and thus serving as a stepping stone to fight Skullion. But also introducing us to the Black Dragon Slayer Cavalry. Members above Skullion’s team that give us an idea if when they show up what the audience should expect of their strength level.

There’s a reason why in One Piece why Yonkou opperations have so many categories. You’re not gonna care about the minor thugs, but by making a distinction between the Headliners and the Disasters in Kaidou’s crew, you’ve made it so that we the audience will not feel disappointed if a Headliner is beat by a weaker character like say Usopp but still know that they are more than a foot soldier so this win meant something.

Now time for the negatives:

The concept of White Out is not awful, and is actually a fairly interesting concept for a villain motivation in FT. However, the White Witch is one of the most transparently evil characters in the series, thus you know that she’s doing this morally ambiguous action because she’s evil. Imagine if this were about humans or royals who feared the growing power of mages. Or a disillusioned mage with the concept of people like Zeref or the GMG, where is seems like magic is endless and how that’s a threat to the world. No, White Witch really seems like she wants to be this grand manipulator and actively enjoys calling heer whited out people, puppets.

However, there’s also the fact the whiting out doesn’t make too much sense. Some characters seem like mind controlled puppets like Juvia, while others are basically the same except their evil now like Gajeel, Mira, Elfman, Laxus. And some are dumb jokes like Jellal.

So there’s no consistency to this brainwashing. Only other time I’ve seen a mind control plot like that in media before is Yugioh GX. Sometimes people act like they’ve been brainwashed into something different like Alexis. But then people like Bastion and a lot of the gag members of the society like Rose and Bob act as if they’re not affected by anything.

Yeah, this white witch plot feels distractedly ripped off from the society of Light from Yugioh GX.

The concept of Team Natsu vs FT in the vain of the fighting festival arc is dumb narratively from two standpoints. First from a story standpoint in the idea that why the battle of FT arc was opportunity, due to the fact they were all willing to fight to free the frozen girls. Which allowed for others to show shades to their motivations Like Alzack willing to mow through his other comrades for Bisca or Thunder God Tribe assisting in protecting Laxus so he’s the last man standing. There’s a tangible reward on th line that motivates the characters to act as do.

Here, the characters are clearly fighting against their will because of an intangible force. This white magic makes them slaves and are fighting because “white doctrine.” Something they only believeebecause brainwashing. As such, you want to see Natsu and gang beat them up to stop the white witch and free them. There’s no force or intrigue that makes the audience care about both sides like seeing Alzack vs Jet and Droy because you know they both want to save their partners but only one can. Instead people only care because a surface level of “friend turned evil” device. It takes the B and C list cast of the FT guild and makes them props.

And from a meta standpoint, there is no tension, due to the fact this is a post final battle with acnologia Team Natsu. The team is bounds ahead of so many guild members like Macao, Reedus, Max etc. that the only real threat is the S class mages. So that makes that big page spread of evil FT in cult robes dull as only like 3 of them are gonna actually matter.

Then there’s Wraith. Nebal was a boring an generic crazy guy is unimpressive, Wriath was actually really interesting at first. Is ghost magic allowed for an interesting fight and his possession actually having limitations on how effective it was made for a cool skill.

But then the reveal about him and Makarov. I eye-rolled at that point, but then I saw the previews and was like, maybe this’ll be the best thing to come out of this series. Everyone wants to know more about past FT around team Makarov’s time.

But all the potential of young Makarov and young Porylusica and the rest of their team is put on fast forward as they’re all suddenly thinking about leaving. But maybe the reveal with Wraith could be interesting. I saw a lot of good theories like Wraith was Makarov’s half brother or Wraith was the son of Makarov and Porylusica who was killed by Ivan.

Well... Any theory would’ve been better than Wraith was some random ass mage and when they say he a Makarov are related its because the bonds of FT that is real family and transcends death itself.

...Gag me...

And and Wraith just fucks off into the afterlife. Because we can’t actually end a fight because of the protagonist’s ingenuity. No, the villain just kills themselves because feels. Isn’t that right August and Irene?

In conclusion

That’s my thoughts as briefly and coherent as I could make them. So if you wanna know my feelings on 100YQ, it can basically be summed in FT being FT. If you expected more, you’re gonna be disappointed. But if you genuinely love the world and character regardless of Hiro’s writing, you’ll probably still enjoy it regardless of what I’m saying

[comicteaparty]

March 28th-April 3rd, 2020 Creator Babble Archive

The archive for the Creator Babble   chat that occurred from March 28th, 2020 to April 3rd, 2020.  The chat focused on the following question:

How many hours do you work on your comic per week, and how do you manager to balance that with other responsibilities?

Holmeaa - working on WAYFINDERS

heheh So we are.. cheating a bit Both me and my coworker are unemployed, and is working on hour comic, like was it a full time job. It is our passion project, and dream that we can work and live of makeing comics. In Denmark you can apply for grants from the government, but you need to have releashed a book before that is possible. We are useing the comic, to show potentional clients in the future what we can do. For now we are working on it from 09:00-17:00 ish (with a long lunch break) while applying for other kinds of grants, and also does all the things we are supposed to to get our unemplyment money, and searching for jobs, and freelance gigs, gathering the courage to start our own small company (not right now though) and yeaah time will tell

carcarchu

@Holmeaa - working on WAYFINDERS that doesn't sound like cheating to me? more like using the tools at your disposal to turn your passion into a viable career

Holmeaa - working on WAYFINDERS

hehe it feels a little like cheating! there are some debates about if it is okay or not, but we think that strengthening our skills is a good use of our time

eli [a winged tale]

Haha also not cheating! It’s great you’re using the time to chase the dream I’m curious what’s your breakdown for those time working on the comic? As for me, usually 1-2 hours a day with a bit more on the weekend if time permits. These days with the quarantine it’s about 2-3 h a day

DanitheCarutor

Since I'm unemployed until who knows when I've been working on my comic between 40-50 hours a week about 6 to 7 days a week... most weeks. Some days, like update day or chore day, I hardly work on the comic or don't work on it at all. Admittedly I'm not the best at balancing drawing with other responsibilities, sometimes I get so into it that I forget about daily house chores, other weeks I do the opposite and only do house chores which makes me totally behind of comic stuff. I can't seem to find a good middle ground, it always turns into completely focusing on one or the other.

eli [a winged tale]

Yeah when I get in the zone, time flies and life gets put to the wayside

shadowhood (SunnyxRain)

So I have no school or work, so the webcomic has become almost a fulltime project for me

I average about 10 hours per day working on it, not counting on chores and exercise

Another thing I worry about is the possibility of carpal tunnel syndrome, which is why I've been relentless with exercise, too

I guess it's just a combination of relentless reminders and also sheer willpower that gets me to do other responsibilities haha

@eli [a winged tale] also I know that feeling

Joichi [Hybrid Dolls]

So since my school had to cancel, I have to be more responsible for my online course. Sometimes I give myself 2 days off each week to work more into my upcoming webcomic but I have to switch my mind for school work, online classes. Also extra time for food. I need to get back into exercise or I feel exhausted more easily. I keep a wall schedule so that I make it a routine to write what I'll do every 3 or 5 days, to keep my active brain reminded(edited)

LadyLazuli (Phantomarine)

I spent the majority of last year (fun)employed (partially by choice, partially not! my previous job let me go rather unceremoniously... and I needed a hiatus anyway... so it worked out) so I poured a lot more hours into that chapter of Phantomarine than I usually did. I worked on it almost every day - at least for a couple of hours, but sometimes up to a full eight-hour day. That number has dipped tremendously since I’ve gone back to work, but I’m spreading the same amount of time out in a broader way. I’m trying to get a good buffer during my hiatus, so I can work and draw in a healthy balance. I don’t have crazy overtime at my current job like I did at my last one, so that’s already a comfort. I’m confident I’ll be able to hit a good stride once the comic returns in June (edited)

eli [a winged tale]

Can’t wait Lady!!

Feather J. Fern

Two part time jobs, and school killed my comic, but I been working on getting one panel done a day, which is around 30minutes to an hour if possible.

eli [a winged tale]

My routine used to be rendering on the commute but now just once in am and once pm until this limbo time is clarified

That’s awesome Feather! It’s so rewarding when everything comes together after putting effort everyday

Feather J. Fern

Once school is done in two more weeks I will be more free to do things so I hope to get maybe two panels done in a day XD

Online school, stupid quarantine

Tuyetnhi (Only In Your Dreams!)

Due to the pandemic im mostly off school and my part time job so i spend like 4-5 hours on my comic per day. Still would like try to get a page done per day but lmao digital painting is slowwww

eli [a winged tale]

What’s everyone’s tips for breaks/stretches/balance? I feel like I certainly need to revisit these to avoid burnout and continue feeling motivated!

Feather J. Fern

Actually there was a cool manga artist who's tip was literally he only worked working hours. His mornings are free and since manga was his job, he worked form 12-6, giving him 2 hours to do other work he needs to get done, and takes morning walks and stuff.

Another person I know had "No working weekends" as a thing becuase they are a freelancer.

I personally have try to make sure I ahve a routine, and actually, stretch before drawing.

Streetch before, during a break, and then after, to keep that body nice and warmed up

keii’ii (Heart of Keol)

Health-wise there's this hing for your : every 20 minutes, look at something 20 feet away for 20 seconds. I'm not good at following this, but when I do it, it helps a lot.

Cronaj (Whispers of the Past)

Despite the current pandemic, my work-life hasn't changed much (unless you count stress getting in the way). I am currently "unemployed," but I do consider comicking my full-time job. I am also not very good at balancing work and life. Something's always gotta give. Last year, I worked at a job that basically ruined my ability to work on my comic. I worked 30-40 hours typically, ruined my sleep schedule, took work home sometimes, and was constantly exhausted. This is what resulted in my year and a half long hiatus, and it's what drove me to work like hell on my comic when I quit. Now (when I'm in the groove and not suffering from art block), I typically spend 60-70 hours on my comic and get 2-3 pages done: - 30 hours sketching (I know, ridiculous) - 5 hours filling in base colors - 20-25 hours painting - 5 hours adding text, speech bubbles, sfx, and finishing touches - 1-2 hours formatting for Webtoon I also spend some time throughout the week typing up the script, doing concept art for things coming in the future of the comic, and preparing for conventions, but I can't tell you exactly how much time.

eli [a winged tale]

Thanks for the breakdown! I’m always keen to learn from everyone and seeing how the workflow is like for different people

shadowhood (SunnyxRain)

oh don't forget to do wrist stretches!

eli [a winged tale]

Ahh formatting time is always so tedious for me!

Yes wrist exercises! Any recommendations?

shadowhood (SunnyxRain)

hmmm well the easiest one is literally just shaking it out

like every hour

and I also like to hold my arm out parallel, point my fingers up and using my other hand to pull the fingers back so i'm stretching the wrist

then I point the fingers down and pull on the fingers until my wrist is stretching

eli [a winged tale]

Awesome. Will be adopting those!

Eightfish (Puppeteer)

I'm pretty fast. 2-6 hours per page, depending on how detailed it is. Average of 3-4. I could probably do 2 pages/ week easily enough, but don't want to do more than that. I'm the kind of person who always needs to be doing a million different things. I need to leave time for my other hobbies and my paintings and my academics and extracurriculars. Otherwise I'd get burnt out doing one thing only

Holmeaa - working on WAYFINDERS

@eli [a winged tale] So since it is both me and @Q (Wayfinders: Off Course) working, we start with working on a rough each, our goal is one step (so rough, ink, color) for two pages pr day, pr person. So in a weak the goal is four finished pages a week, and then we upload 3 pages per week. So it is divided that in the morning we start at 09:00 in the morning, maybe checking mail, being practical or whatever. Then we work until 12:00 were we eat lunch, go for a long nice walk and then we go back to work between 13:00 and 14:00 ish and then work until 17:00 when we begin to prepare dinner. Then of course breaks inbetween

Q (Wayfinders: Off Course)

It’s pretty wild to be able to dedicate your entire day to comics like that

shadowhood (SunnyxRain)

damn you all work fast

do you guys have any tips on how to work on a webcomic faster?

Cronaj (Whispers of the Past)

Lol, I wish!

Still looking for those magical secrets

Eightfish (Puppeteer)

@shadowhood (SunnyxRain) You know the 80-20 rule? You can get 80% of the result with 20% of the effort? My comic is very messy if you zoom in. I don't spend time making sure the linework or the coloring is perfectly clean. Also, I'm pretty fast at drawing figures. I used to practice figure drawing a lot by rushing to draw strangers irl before they moved, or by drawing a bunch of fast figures from the free figure drawing model websites online. I've also taken a figure drawing course (didn't even have to pay because it was part of my university! Even if you don't have that option you can probably find free life drawing sessions on Meetup or similar!) which really helped me streamline my process for drawing people

shadowhood (SunnyxRain)

Oh I see! Yes, I used to take life drawing classes too! And your response makes me feel a lot better

I tend to be a bit messy with inking, and since i'm a perfectionist a lot of my time is wasted on editing/clean up

Eightfish (Puppeteer)

I've seen cronaj draw, and while I think the results look excellent, I think her method is a kind of inefficient. She draws like a printer, nearly finishing one detailed body part before moving on the the next. I think maybe if she drew in a more classical way, going from a gesture drawing to progressively more detailed, it might help her be faster and her poses more cohesive and dynamic. Maybe working on 1 or 5 min figures would help? Practicing things like this?

eli [a winged tale]

Yeah I try to do figure practices for efficiency

shadowhood (SunnyxRain)

I heard that there are some online life drawing vids you can follow too

but what are your experiences with online life drawing vids versus the real thing

like is there a real difference?

Eightfish (Puppeteer)

found some of my old 1 minutes

To me there's not too much difference

I've heard some people say that life drawing is either way easier or way harder though. Because of your depth perception when looking at a real person

But the bruises on my legs can attest to my horrid depth perception haha. That might be why I don't notice a difference

Actually those previous sketches might be 30 seconds? I don't remember

I would recommend you try both but right now we pretty much only have the online option haha

eli [a winged tale]

Yeah I’ve done both and I think irl creates complexity with depth and the interactions with others etc is helpful but online is my go to for flexibility

I think having a process streamlined will make things more efficient. The downside is that it might feel tedious and I do switch it up from time to time for variety

Eightfish (Puppeteer)

Might feel uncomfortable but that's how you know you're improving

keii’ii (Heart of Keol)

There is a TON of difference for me. I HAVE to look at a physical model in front of me.

Eightfish (Puppeteer)

Can't get better if you always do the same things

keii’ii (Heart of Keol)

This is what my brain does.

Eightfish (Puppeteer)

I wonder- could drawing yourself in a mirror be a decent substitute?

If youre lucky you might also be able to ask an SO or roommate to model for you. Should probably pay them back by cooking for them or something though

keii’ii (Heart of Keol)

Brain: sees a real model in front of me Brain: translates 3D to 2D, result: drawing Brain: sees a photo/video of a model Brain: SHIT. That's supposed to be 3D, isn't it? Brain: Translates 2D to 3D (basically re-constructing it in my head, or attempting to re-construct) so that it can translate it back to 2D Brain: BSOD

There's some online resources out there that have "3D" photos... you know, two near-identical images side by side, so if you look at it cross-eyed, it becomes 3D?

But I can't do those because I get a headache X'D

Eightfish (Puppeteer)

Just thinking about drawing from that makes me dizzy

eli [a winged tale]

Oh interesting!

Yeah maybe looking out the window to draw people would be the way to go...

Eightfish (Puppeteer)

But maybe figure drawing in VR exists?

eli [a winged tale]

Balcony figure drawings

Eightfish (Puppeteer)

I live on the top floor so those are going to be some very small figures

eli [a winged tale]

For ants

keii’ii (Heart of Keol)

Once this coronavirus thing is over, there's lots of ways you can do gesture drawings from just random people -- bus stops, cafes, museums (I have not done this, but people who have done this report this is really good because others assume you're drawing the artworks. XD)

Eightfish (Puppeteer)

I've done this a lot

Sometimes I've even shown people drawing of themselves if they've turned out particularly nice

They've always taken it well

shadowhood (SunnyxRain)

I like drawing my professors because they use hand gestures a lot when they talk

keii’ii (Heart of Keol)

Airport was REALLY good for finding people stuck in one pose indefinitely

shadowhood (SunnyxRain)

they alwayas laugh when I show them

eli [a winged tale]

Shadow omg I do that too

Draws classmates

shadowhood (SunnyxRain)

yeah the only issue i have with drawing classmates

is that they're always doing the "i'm using my phone" pose

keii’ii (Heart of Keol)

Become the master of drawing people on their phones

Eightfish (Puppeteer)

Maybe try drawing children on the playground?

This works better if you're a woman

shadowhood (SunnyxRain)

oh thank jesus

I also like going to the zoo or the museum

or the aquarium if i'm feeling adventurous

Eightfish (Puppeteer)

I am a University student so I also have some pretty interestng drawings of people asleep in weird poses

keii’ii (Heart of Keol)

I really need to start going to weekly figure drawing sessions once this is over (there's one here... 20 min drive... 8AM Saturdays )

shadowhood (SunnyxRain)

ditto or just go to the park and draw

and @Eightfish (Puppeteer) I've had some.....weird poses from all my profs

one guy was incredibly hard to draw; he was VERY enthusiastic about showing us knife skills

keii’ii (Heart of Keol)

The parks here are too spacious, to a degree where it's weird to get close enough to people

Eightfish (Puppeteer)

Bring binoculars

shadowhood (SunnyxRain)

Don't worry ma'am I'm an artist

nothing sketchy

Eightfish (Puppeteer)

(except my sketch)

shadowhood (SunnyxRain)

A+ pun right there

another place to go for figure drawing

theaters

like.....opera/plays

I once tried drawing the men dancing in the Newsies musical

Eightfish (Puppeteer)

Tried that once, but it took me out of the performance

shadowhood (SunnyxRain)

same i was dazzled by dancing men

aaaaand then i abandoned sketching at all when they started throwing newspaper strips into the audience

Eightfish (Puppeteer)

But they were giving you free paper!

shadowhood (SunnyxRain)

THEY WERE

i'll take what i can get

Cronaj (Whispers of the Past)

@Eightfish (Puppeteer) While I agree that my method of drawing is "inefficient," I do not draw like a printer. There are videos of people drawing like a printer and it's not what I'm doing. I have done gesture drawing before, but it always looked incredibly abstract, and not quite like people, which is fine, but not what I'm going for. I treat gesture drawing like a warm-up exercise. It doesn't really do anything for my end result, but gets my drawing muscles stretched out.(edited)

eli [a winged tale]

Gesture drawings are definitely a good warmup!

Eightfish (Puppeteer)

Perhaps it was an inappropriate analogy. What works for me I guess wouldn't work for everyone. I was trying to offer advice because whenever you talk about how much time you spend on art and you work life balance it's commendable but also dismaying. I hope you find something that works for you in the future

sssfrs (JOE IS DEAD)

Oh god.. I sometimes work 6 hours a day. I guess thats like 30 hours a week? Crazy to think about, it's like a full job

Oooh you guys are sharing figure drawings... I swant to show some of mine

Behold

sssfrs (JOE IS DEAD)

My figure drawing usually breaks down into like, medical anatomy study. I feel like I understand body shapes better by including the muscles & bones

carcarchu

ABS the most important figure study

Deo101 [Millennium]

ah figure drawing? I love figure drawing ^^

I do like a lot but this kinda thing is most of it

anyways as for the question at hand, I do a lot of different things for my comics weekly. My millennium pages take me 2-6 hours i would say, but I also have patreon things I need to do so I'd say i spend 10-15 hours on it a week. for my other comic, I spend about 6 hours an update, and it updates every other week. but honestly, all of my free time goes to assorted comics. If i'm not working on school work or chatting with people, I'm working on things for patreon, potential merch, or other comics I want to start sometime.

sssfrs (JOE IS DEAD)

Oooh nice poses!!’

Deo101 [Millennium]

thanks!! I have a ton of gesture/figure drawings but these ones are my most recent that I have saved to my computer i think

10 minutes im pretty sure. very good for speeding up

sssfrs (JOE IS DEAD)

Those look really nice, good values

Deo101 [Millennium]

thanks ^^ I really hate working in charcoal honestly, it kinda always winds up hurting my body somehow, but its very quick sooooooo

kayotics

My answer for the prompt question has changed a lot since I started quarantine lmao... I used to do about 10 hours of work throughout the week on my comic page (usually after work, I have an office job) but ironically it’s gotten harder while I work from home. I’ve been struggling to find time since I don’t have a separation between work and home now, and putting the boundaries up of “I’m not always available” to coworkers is difficult.

Also on figure studies: they’re a great way to practice speed. I use the concepts of figure drawings all the time.

RebelVampire

@kayotics As someone who always works from home doing remote contract work, I have to say I think this is something a lot of people underestimate about work at home life. In that it's sometimes really difficult to establish boundaries with ppl and make them understand you aren't always available and also aren't gonna work billions of hours of overtime. So I'm sorry to hear that's affecting your comic work.

Shadowmark Productions

I work anywhere from 6-8 hours a day on comic stuff. That’s an average though. Sometimes I slack and need to pull all nighters to make up for it. Yes, I am terrible at time management. They say entrepreneurs are the only people willing to work 80 hours a week for themselves so they do not have to work 40 hours a week for someone else. I guess webcomic creators are the only people willing to work 80+ hours a week so that they can... go to work for someone else afterwards

AntiBunny

4 days of procrastinating, 1 of procrastinating and hating myself, and 2 of actual comic drawing seems to make up my weekly comic making schedule. :p

sssfrs (JOE IS DEAD)

I can only imagine how stressed I would be if I forced myself to update weekly

Cap’n Lee (Flowerlark Studios)

This is a hard question to answer because it varies a lot depending on my energy levels. Ideally I’d spend several hours a day on comics, but realistically I draw as much as possible when I have the energy (5+ hours a day for as many days in a row as I can handle it) and then go weeks or months too tired to do comics. On average, barring any long periods of exhaustion or other interruptions from RL, I spend about 20+ hours a week making pages for my comics.

sagaholmgaard

I prefer to work on my comic for about an hour ever morning and maybe 2-3 hours in the evening, that's the ideal routine for me. Right now I sadly have a lot of schoolwork to do (writing my thesis) so i might get less than 30 minutes in the morning and then feel rlly tired in the evening so I dont get as much time then either. but oh well!

I can still work for 4-5 hours on the weekends so I manage ^^(edited)

chalcara [Nyx+Nyssa]

The whole stay-indoors order's currently completely wrecked my pattern, but before that I did between 3-4 hours a day.

Shadowmark Productions

Can’t imagine the stress of a daily or even weekly posting schedule. Hats off.

[ahnsael]

Ever get one of those emails from your boss that just PISSES YOU OFF? I just got one.

We have to log progressive jackpots every night. Not just what was won, but where every progressive jackpot in the casino stands at that time. Which for us, is a 17-page list of machines, (multiple machines per page). It used to be 39 pages before I reformatted it to save about a tree per week in paper.

When a taxable progressive is hit, we’re supposed to list it on the log as having been hit -- the machine number, the date and time the jackpot was hit, the number of the jackpot slip from which it was paid, etc. It helps if the Gaming Commission comes into the head office and says, “Why did this 1,400 jackpot suddenly drop down to $800?” The info that I provide (see below for example) is meant to answer that question without it taking days for Audit to research the answer and get back to Gaming. They should be able to look at the log, see my notes, and say “Here’s why it went down, it was won by a guest at [x time] on [y date], and here’s the paperwork you’ll need to verify that.”

I used to write that all at the bottom of the page as they were won by a guest. If it was won while I was off work (which is usual, since I work graveyard), I research it and then add the information to the log. I’m the one who sends it off, so I’m the last person to see it (or, at least, the last person to actually look it over) before it is sent off.

In the third week of August, in our manager’s meeting, I was specifically told by my boss’s boss (in FRONT of my boss) that they preferred that information to be on the back of the page, not the front. So I started doing that instead.

Today I got an email regarding last month’s log saying:

This was written on the back of a page on the progressive log. no initials no IR attached. Please ensure that an IR is attached to the progressive log with things like this

(IR stands for Incident Report)

Here is what I wrote, thanks to the attachment in the email:

I replied, including my boss’s boss in the reply, that this is EXACTLY how I was told to do this after having done it the other way. Literally the only thing that changed was that I used to write this on the front of the page, but I started writing it on the back of the page after BEING TOLD TO at that meeting by my boss’s boss.

Granted, I had thought before that meeting that I had a better way (which would cost us an extra sheet of paper, but be a simple Excel spreadsheet to fill out and add to the log when needed), which I eschewed when I was told they just wanted me to write it on the back of the page. I offered to send that out for approval/feedback when I go to work tonight.

I can’t wait to see the replies to that email. Because I know DAMNED WELL that this is the EXACT SAME WAY I used to write this info with no complaints -- the only thing that changed is that it’s now on the back of the page, AT THE SPECIFIC REQUEST of the company’s higher-ups.

They once requested that I include LESS information (I used to list both the total win for the game, including the jackpot and any other bonuses won in the same game, AND the amount of the progressive jackpot itself separately -- for example, that progressive was closer to $1,500, but...with the rest of the bonus in which they won it, they ended up with more; now they only want the total win, not the separate information, even though I know it doesn’t tout up with the log of progressive jackpot).

I usually roll with things. And if I make a mistake, I accept the criticism and move on with life. If I deserve a spanking over email, I accept it. And if things change, I change with the times. But to be called out, on a mass email to people inside and and outside of the casino for doing what I’m told? I will fight for my honor on this one. If they changed their minds and preferred my old way of doing things, they should have had the foresight to...you know...TELL ME that they had changed their minds after they told me to change the way I do things.

Seriously, I am PISSED OFF about this email.

The assistant property manager is my relief tomorrow. And while this email came from our collective boss, he’s closer to my boss than I am (I work graveyard, which means I pretty much ONLY ever see my boss at our monthly manager’s meetings, so he’s my best outlet without looking like a jerk.

My boss replied to my protestation email as I typed this.

I ALMOST wrote him a gigantic “F you” message back (not including that implied phrase, but very much with that exact feel)  explaining everything I’m saying in this post. My boss told me in my interview that he’s cool with me cursing him out, if I think he deserves it, as long as I don’t do it in front of guests. But I don’t see him often, and when I do it’s either in front of guests or in front of the entire management team.

Even so, I was hovering over “send,” and then I remembered six years of unemployment before landing this gig. I needed a more subtle form of “f*** you.” Maybe it’s too subtle...for now. But wait until he sees what comes next.

So instead I wrote:

I'll make the necessary changes in the future. There is one note for Island Dreams (Machine #6014, if I remember right -- the one on the far right of Prospector's Choice) that has the identical format to the one that is objected to in this email chain. It was hit three times, if memory serves, this week (but only one was taxable). I believe it was hit on Tuesday of this past week, and while I don't remember the exact amount, it was in the neighborhood of $1,800 or so. I believe (I could be wrong) that it is on the back of Page 10 of this past week's log, if it hasn't already been sent since this morning when it was completed.

And while it may SEEM that I’ve given in, just wait to see what’s next.

We have a progressive (two of them, in fact) that starts at $5 and hits before $25. Heck, we have four that hit before $12,50.

Those get hit MULTIPLE times per day.

And you’d better ABSOLUTELY believe that I am going to painstakingly research EVERY SINGLE occurrence of that progressive being won, even though the $25 max progressives mean I have to research 12 separate machines on which that jackpot is shared. And even if it’s 20 times in a day, and I am GOING to include an incident report for EVERY SINGLE OCCURRENCE of anybody winning it.

I’m going to make Audit’s lives hell, and they’re in turn going to make MY boss’s life hell. And when he comes to me, I’m just going to say “Well, since things change so often, and since you can’t be bothered to TELL me when these changes happen, I’m just going to include EVERY SINGLE BIT OF INFORMATION I CAN (except the winner’s name, even if we know it, because...that would violate an actual PUBLISHED company policy on privacy and confidentiality), until they can make up their freaking minds on how much information they want, and maybe not have that change whenever someone in Audit leaves the company.

And by “make Audit’s lives hell,” I just mean that I am going to INUNDATE THEM with unnecessary paperwork. They may, in the end, not care. But...I’m GOING to get my point across.

It’s going to be SO MUCH more work to do it this way than it would be to argue with my boss via email when I should be going to bed, but...it’s going to be SO MUCH more rewarding to do it this way.

On the plus side, I copied my boss’s boss on both my original “what the heck?” reply as well as the “I’ll make the necessary changes” reply. I have a feeling my boss’s boss is going to be LAUGHING HIS ASS OFF at my boss when he sees the progressive log next month, with even $6 wins logged in painstaking detail.

The only downside is them thinking that “if he has enough time for this, imagine how much MORE we could ask of him?”

So once I start literally spending half my night researching 2-digit jackpots and writing an Incident Report for EVERY SINGLE ONE OF THEM, he’s GOING to get the point.

And while it’s a HELL of a lot more work for me, it’s going to be SO worth it to see Audit’s email to him, forwarded to me, asking what the hell I’m doing, and then me replying with today’s email chain and saying “Just trying to make sure I’m covered when everything keeps FREAKING CHANGING.”

Thank goodness I work graveyard where I have a lot more time for doing extra work just to spite my boss (while being able to innocently claim “I never know what you want from me on this log for this particular month so I’m just covering my bases”).

They say that Hell hath no fury like a woman scorned.

But whoever the “they” are who said that has never dealt with an underpaid manager who gets in trouble for doing EXACTLY WHAT THEY ARE TOLD TO DO. My scorn is going to burn, it’s going to be far-reaching, and it’s all going to be coated with “I’m just doing what I was told.”

I cannot WAIT to see how this turns out.

[captainfawful]

 With the year coming to a close, that means it’s time for me to do my “Nobody Cares Awards” thing I like to do! Check under the cut for some hot takes I may or may not have!

Hello, hello! It’s me again! Third year in a row I decided to jot my thoughts down on the years various game. I decided to change things up more from last year, kind of eliminating most of the categories in favor of writing more about the games I enjoyed. I tried to write at least something about every game in the Top 10 this time, even if it’s the bare minimum. Let’s see how it goes!

BEST MUSIC

This entire thing was first created because I wanted to write about how good Death Road To Canada’s soundtrack was. So no matter what changes with my format on this, there will always be a Best Music category. I’ll be honest though, there weren’t a whole lot of games this year with amazing soundtracks. The only real contender for most of the year was Celeste, which OST is very good, and fits perfectly with the games tone and style, but it’s not... The Best music. They aren’t songs I’ll put on loop and listen to multiple times throughout the day. They’re not the hard hitting tracks I would typically put at the top of this category, despite how great the music is. That’s how I felt until about August, when The Messenger came out. Messenger is not a game that will be in my Top 10 by any means, but it’s a pretty good game nonetheless with a couple of really weird twists. But the OST is phenomenal. Easily my number 1 favorite of this year. Just about every track in the game is a total banger. But don’t take it from me, take a listen yourself! A little later in the year I played through Just Shapes & Beats. I have a personal stigma against saying a thing with licensed music should qualify for Best Music, which is why JS&B did not make it into my top 3, but rest assured that it is sitting comfortably in the 4th place spot. Almost immediately after I played JS&B, Deltarune suddenly came out. I don’t think I have to tell you why that’s on here, right? Toby Fox cannot make bad music.

SPECIAL MENTIONS

THE MISSING:J.J. Macfield and the Island of Memories

It’s hard for me to talk about what makes The Missing so special without diving deep into spoilers. There’s a reason it’s in the special mentions, and not the Top 10: And that reason is because the gameplay isn’t great. The Missing is a side-scrolling puzzle game, in the same vein as Limbo or Inside. Unlike those two, however, the puzzles you have to solve are not that hard, and most of the difficulty around it revolves around how slowly and janky the movement is. However, the overall story and twist is what makes this game great. There’s not a whole lot for me to say about the themes this game presents, so if you want to play The Missing, play it. If you don’t want to play it, then maybe take a look at some writings from actual queer women who could talk about its subject matter in a way I never possibly could.

The Quiet Man

The Quiet Man is a terrible game. When I first saw the trailer during Suare Enix's E3 presentation, I was super interested. I've always wanted a game that transitions from FMV to gameplay with as few seams as possible, and The Quiet Man promised that. Not only that, it promised a compelling story told from the perspective of its' deaf protagonist. The way I saw it, this game would either accomplish what it set out to do, or fail miserably. Either way, it was a win/win scenario for me! Little did I know just HOW miserably it would fail.... Oooooh, how miserably it failed... The gameplay is absolute trash, the graphics leave much to be desired which makes the "seamless" transitions from FMV look unconvincing and bad, the story is needlessly complicated despite how generic it is, the acting ranges from decent to awful, and it requires you to play it twice in order to actually understand what's happening. And all of those problems are the LEAST offensive parts of the game. It's racist, misogynistic, somehow ableist against more than just deaf people, semi-incestual, and also kind of pro-abuse??? I mean, it doesn't take a stance to be anti-abuse, and certainly doesn't condemn abuse, so does that make it pro? Maybe? Probably? I have a headache. I've watched this entire 2-4 hour game be played 10 or 11 times, and I still don't understand how this exists. Square-Enix published this. They dropped Hitman and IO Interactive not even one year ago, yet threw money at this horrible abomination of a video game! Oh by the way, you might be wondering why I said you have to play it twice to understand, and that's because the first playthrough doesn't give you any sound. Yup, aside from the intro cutscene and the credits song, the entire games' audio is just muffled ambiance. This includes all of it's cutscenes, of which there are MANY, and they are LONG. Entire MINUTES of dialogue happening at a time that the game just doesn't want you to hear or have subtitles for. The only way to get audio is to beat the game once and replay it. Not only that, but the New Game + with sound and subtitles didn't even get patched in until a week after it's release!!! Who does that!!!!! And the version with audio has some ATROCIOUS writing. Just about every scene has at least one line of dialogue that makes no sense, almost as if the writers were only told about how humans speak, but never actually heard one themselves. I’ve heard a lot of people saying it’s The Room of video games, and I sort of agree. Much like The Room, it’s not the absolute worst of it’s form of media, the game is playable start-to-finish, extremely straight forward so you can’t get lost, no bizarre puzzles to figure out, the FMV cutscenes are at decently produced. Hell, I wouldn’t even say The Quiet Man is the worst game to come out THIS YEAR. Crying Is Not Enough released in June, and boy oh boy is that game a trash fire. But it’s just BAFFLING that this game exists. That’s the perfect word to summarize my feelings on The Quiet Man. Every single thing about it is just, baffling. I need to stop writing about this game. This whole paragraph is probably going to be longer than anything from my Top 10, which feature a few games I ADORE, but no. All my writing energy is going to how terrible this fucking video game is. Don't play The Quiet Man. Or do, fuck if I care. Maybe watch someone else play it, I don't know. I don't know anything anymore.

Ori and the Blind Forest

Back on the topic of good games, I finally got around to playing Ori and the Blind Forest! I played it for a little while after it originally came out around 2015, but it just didn’t stick with me at the time. There wasn’t any real reason why it didn’t stick, I just got bored and stopped playing, which isn’t that uncommon for me to do. But for whatever reason I decided to go back to it super late last year. It may have been the excitement for all the cool looking Metroidvanias slated to release throughout the year, I don’t know. But I played through it, and it’s fantastic! Most Metroidvanias tend to go with around a 60-40 split between platforming and combat. Different games have different splits, sure, but most of them tend to keep those somewhat even. Ori is like an 85-15, greatly favoring tight platforming over fighting enemies. Your main attack automatically locks on to nearest enemies, and boss fights are replaced with autoscrolling or stealth segments. The traversal is also super smooth and fun, making that 85-15 split much more favorable than others in its’ genre. Great controls combined with some amazing visuals and music, Ori is definitely a game I regret not playing earlier.

2019′S COMING IN HOT

Spelunky 2, Wargroove, Indivisible, Hypnospace Outlaw, Ooblets, UFO 50, Kingdom Hearts 3, Overland, Sea of Solitude, Ori and the Will of the Wisps, and  Get in the Car, Loser!. These are all great looking games that are supposed to be coming out in 2019. I remember last December when I last did this, I couldn't think of THAT many games I was really excited for, and despite that I ended up with a pretty damn good list of games for 2018. So who knows what next year will be like?!

And now... The Top 10!

#10: Spider-Man

It’s been a great year for Spider-Man. His best buddy Venom had a pretty good movie, his new video game is good, and he has a new movie that’s fantastic! Yep, it’s been such a good year for Spider-Man in which nothing bad has happened to him or the people who created him.

#9: Megaman 11

2 > 4 > 3 > 8 > 11 > 7 > 5 > 6 > 9 > 10 > 1. Don’t @ me.

#8: Iconoclasts

Iconoclasts has been in development for a very long time. Officially, development for it began in around 2010, but there is a seemingly earlier game by Konjak that shares many similarities. Basically, Iconoclasts began development at least 8 years ago, and it shows, for better or worse. On one hand, the game is gorgeous. Grade A sprite work all around. The characters are interesting and well written with their own morales and arcs, and the story is surprisingly deep and compelling considering the type of game it is. On the other hand, the gameplay feels very outdated now. The combat is super simplistic, the puzzles aren't terribly challenging or rewarding, and the weapon/ability upgrades are very limited. The traversal can be sluggish and boring, which is a red flag for a game where you have to backtrack a decent amount. If Iconoclasts came out 4 or 5 years ago, I feel like it would've been at least a cult classic. But in 2018, it's a decent Metroidvania in a year of great Metroidvanias. Overall, I'm glad Iconoclasts finally came out. I just wish it either came out sooner, or got more updated for modern game design.

#7: Slay the Spire

For all intents and purposes, I shouldn't like Slay the Spire. I always hated card-based RPGs, and always hated RPGs with only one party member. And for the most part, the issues I have with both of those are still very much present in Spire. So why have I sunk 50 hours into it so far? Beats me! If I had to guess, I’d say it’s the similarities it shares to Darkest Dungeon, one of my favorite games, that ultimately drives me to it. Now, you might be asking why Slay the Spire, a game that came out in 2017, and won’t be in 1.0 until probably 2019, is in my top 10 for this year, but Ori & the Blind Forest isn’t? Well, I started Ori last year, and didn’t start Spire until the middle of this year! Also, they’re my awards, and I can do whatever I want!

#6: Just Shapes & Beats

Just Shapes & Beats’ concept is simple: A rhythm bullet hell. Certainly not the first of it’s kind, and not even the first one to use simplistic shapes as the obstacles/characters. But there’s a bit more to it than that. JS&B has some good personality to go with it. It has some fun characters, all of the levels are demonstrative of the areas you’re in on the world map, it even has a couple lightly emotional moments! It’s much more than you’d expect from a game about Just Shapes & Beats. When I was younger and had vague dreams to make games, I always imagined making one that was basically “What if a Windows Visualizer was trying to kill you?” and also be themed around a world and a story, and JS&B is basically that.

#5: Pipe Push Paradise

What happens when you take Pipe Dream, an iconic puzzler which has given inspiration to countless others, and mix it with Stephen's Sausage Roll, arguably one of the greatest puzzle games of all time? You get Pipe Push Paradise, of course! That’s all I really have to say, and all I NEED to say.

#4: Dead Cells

Go play Dead Cells. Really, it’s the closest thing to a perfect Rogue-like (that isn’t Spelunky) out there right now. It’s a game so good, Filip Miucin couldn’t look away from it long enough to write his own review!

#3: Subnautica

If I had the opportunity to become a Fishman and live underwater, I’d probably take it. As long as you take out the jellyfish that can kill you .0001 seconds after stinging you, I have no qualms with open water. In fact, the isolated feeling from it is really relaxing to me. That’s what initially drew me to Subnautica. Survival games are usually hit or miss for me, but the ones I like I really dive deep into (Heh heh), and Subnautica is one of those. Also, I was rewatching the Super Mario Bros. Super Show on Netflix as I played this, so now I’ll have those two permanently linked in my mind from now on.

#2: Into The Breach

I love tactics games, especially Advance Wars. While I do still love others in the genre like Fire Emblem or X-COM, there are some intricacies of the AW series that most of the others don't have. When I first heard about Into The Breach, I thought it would be exactly what I wanted, a true successor to the series I'd been waiting for. And it was not! But it's still pretty damn good. It's not so much a tactics game as it is a puzzle game, described by Waypoint's own Austin Walker as a "tactical dance". You know at the start of each turn where each enemy is going to attack, and it's your job to navigate and attack with your 3 mech units in the exact right way to minimize or even straight up prevent any damage that would befall you or the cities you're protecting. You aren't trying to advance a map during combat, or conquer any enemy bases. You are merely trying to avoid damage for a certain amount of turns and move on to the next level. And it's all super fun! I've let the game sit for 10, 20 minutes while I try and figure out every possible option I have after being backed into a corner, and coming up with the absolute perfect solution and getting through to the other side is super satisfying. The biggest gripe I have with Into The Breach is the same one I had for FTL, the developer's last game, which is I don't think the unlockable mechs/mech teams are as fun as the default ones. I played most of them once or twice and went "Yeah, that's a thing" and migrate back to the first mech team. All in all, Into The Breach is a fantastic game, it just doesn't scratch that Advance Wars itch I've been feeling. Oh well, at least there's still Wargroove!

#1: Celeste

Celeste is a game I got 100% completion in. For those of you who might not know me well enough to know how I play games, that’s something that never happens. I think the last time I purposely got 100% on a game was in Uncharted 2, and even that was only to get a skin for multiplayer. Despite that, it’s been really difficult for me to write up a whole thing about why I love Celeste so much. It’s just a compilation of everything. I love the look of it, both the sprite work and the character portraits. The music, as mentioned before, is fantastic and perfectly fitting for all of the levels themes which deal in different forms of anxiety or self-doubt. The levels are hard, but not too hard. The secrets hidden throughout the game are so satisfying to figure out and find, very reminiscent of Braid. I feel confident in saying that Celeste has cemented itself as one of my favorite games of all time.

Well, that’s all I can handle writing for this year. Thanks to the few of you who skimmed through all this, and extra thanks to the fewer of you who read all of it! I’m not 100% sure if I’ll do this whole shpeel next year or not; maybe if 2019 turns out to be an incredible year for games, and definitely not if I have to move to Twitter in the off-chance Tumblr dies out completely. Hope you all had a fun holiday season, and have a great 2019! 

[basklin]

A love letter to Hotline Miami 2: Wrong Number

or how I learned to stop worrying and love the game.

Hotline Miami 2 turned 3 yesterday, I thought I’d write something up for it!

The following contains spoilers for both Hotline Miami and Hotline Miami 2: Wrong Number. I'm going to put it under a read more seeing as I got carried away.

I didn't get to play the game on its release date, I was busy with real life. My sister was playing a part in her university theatre troupe and had a role as Miss Prism in The Importance of Being Earnest, it coincided with the date of Hotline Miami 2: Wrong Number's release and I was going to go back to the house me and my family were staying in at the time. It was a moment of respite during a time of year where I was working on my final art presentation for my school and I had worked non stop on it. I wanted to play the game since its announcement and having finished the first Hotline Miami less than a year before, I had waited so long, I could wait a day longer, my time was my own to work with. The comics by Dayjob Studio had gotten me really excited for the game at the time as well, more than happy to see my favorite medium put to use in promoting a game I was looking forward to.

I got back to my student flat in the early afternoon and made myself lunch, downloaded the game (updates and bug fixes included) and happily started it up. I'm ashamed to say now that I was expecting most of what the first few levels had to offer, since I'd spoiled myself on a leak that came out a few months before the official release of the game. I originally wasn't going to watch it, but a friend who'd watched before me said there was a character with my name in it, seeing as that was so rare to me, I caved in really fast. (Fun fact: it was the direct inspiration for one of the first comics I did for that game)

I have to point out that I'm thankful that the game's slasher style tutorial wasn't spoiled in the leaked gameplay footage, as it was a genuine joy to see the amount of details in the level design at my own pace. There was a big buzz around that level when journalists were framing it as an unwanted shocking sexual assault scene in a game about senseless violence and cartoonish gore. The game's meta commentary about sequels and how that kind of scene is used in horror movies for upping the shock value was lost on me too, but we can't be expected to get the point of a moment in media the first time. The presentation in most cases for this is frankly overblown and lasts around 3 seconds, a pair of pixellated buttcheeks over a woman I didn't even know the name of yet wasn't going to put me in a catatonic state, but a trigger warning  asking a player if they want to be spared from that kind of scene before the start of the game is always a worthy inclusion.

Even today the first 5 levels of Hotline Miami 2: Wrong Number are the perfect representation of the rest of the game: big sprawling detailed areas, a diversity in those locations, playstyles associated with named characters, and an actual commentary on violent video game protagonists.

As mentioned before, I was very much looking forward to the game's release and getting around to playing it. I had gone cold turkey on playing the previous installment, wishing to discover the gameplay anew and making my patience feel like a reward when I got around to playing it.

I wrote “named characters” because giving them a name makes them more real, part of the world, with motivations unique to them. Not just an avatar the player can slip into and mirror back what the little amount of pixels with a human shape might be beginning to feel when committing violent acts. That also means there are more stories that come bundled together, they're more present than ever and harder to ignore for a player who wants to skip to the next action set. The arcade game format of the first game alongside its simplicity is lost, but more story is what I wanted in the sequel, so I can't complain.

Playstyles and characters were a joy to discover and experiment with these characters comprise of:

The Fans, covered in colourful war paint with their individual animal masks and expertise, all set out to go on a vigilante murder spree, chainsaws and guns in hand.

Manny Pardo, the detective whose motives remain unclear, with a more gun oriented gameplay.

Evan Wright, the writer with the one with the most unusual playstyle of the lot, seeing as he tries to do non-lethal takedowns of people he chooses himself to be around needlessly putting him and his family in danger in pursuit of the truth behind the first game's phone calls. This unique gameplay can be made into the default one by going too far on ground executions, making him go into a blind rage and seeing red.

The Soldier, limited to a single gun of your choosing whose ammunition must be replenished through carefully placed boxes throughout the level and an army knife for close range combat.

The Mafia, comprising of the Son of the former leader of the Russian mafia and his Henchman. The former wanting to reinstate the dominance of the Russian mafia after the Colombian cartel took over and the latter wishing to break free of this cycle. The Son has the same array of skills as the Fans, exception made of the chainsaw and gun combo, making him a reckless one man army, and a cool parallel between the Russian mafia and the vigilantes in animal masks.

And the last playstyle, what feels like the default way to play the game, is the one found in the first game. Simultaneously not making you feel contrived to play a certain way, but not making you feel overpowered either. It's shared between a handful of characters in the game: the Henchman , the Rat, the Pig Butcher, and the Snake. (although the latter is able to play in a fists only way with one of his masks)

Guns only, dodge rolling, fists only, a chainsaw and gun at the same time, double MP5s, and even non-lethal gameplay help to define everybody really well, beyond words and appearances.

Getting to explore levels that are massive and open was the biggest game changer, being tunnel visioned and sticking to melee weapons became a death sentence for some levels with frustration quickly rising. I remember reading the advice that guns made too much noise in Hotline Miami, the result was sticking to a melee weapon and executing fallen enemies; which rewarded you with more immediate points than firing with the different array of guns, but rising combo counters and being wary of cover definitely became the name of the game in the sequel, for better or worse.

Gone were the collection of small colourful appartement buildings, what felt like cardboard boxes with “Miami, Florida” scrawled in felt tip pen on them; instead we have unique looking buildings, that feel inhabited, grubby at times, and more unwelcome than ever for a gunfight. More windows, and getting shot from offscreen, and enemies for which you have to use a specific kind of weapons on to progress through the level, all at the same time.

Multitasking is asked from the player, being aware of the enemies in your surroundings along with the abilities and limitations of the character you are playing. Not to mention hard mode which you unlock after finishing the game for the first time, with more reaction time and ammunition conservation playing a bigger role by then. Hotline Miami's puzzle side could expand to its full potential and the developers have truly made a better game. More thought, more gameplay, more amazing music tracks from a variety of indie musicians, and more story was put into Wrong Number, it was everything I was hoping for and I wasn't disappointed by the game at all... At first.

This isn't going to relate to a few people, but I try to finish games as fast as I can. Not speedrun them mind you, I like playing games too much for that, but finish it from beginning to end in a timely fashion. In the past, my interest dropped very fast for games that require time, knowledge of all its controls, or reflexes to beat and will get frustrated if I can't get back into the groove of it after a few months of not playing it. I tend to start over because I've either lost track of the story or of the rhythm of later chapters. On top of that, I didn't want to be spoiled accidentally or put it off too long. I remember finishing Hotline Miami's main story in one sitting only coming back the next day to finish the Biker levels, why not do it with Wrong Number?

To this day, I regret playing Hotline Miami 2 in one sitting. After 3 hours without a break, I had a slight headache, by the time I had finished the game 6 hours later, I had a migraine. By playing it the way I had, I'd successfully completed the game, but gotten a feeling of disgust by the end of it. I've had hangovers that felt better.

On a side note, that day I got a call from a classmate who wanted my opinion on the direction of his end of the year comic presentation was going. He came round when I was in the middle of Deathwish, on the level with Corey, what felt like the ultimate test of skill at the time. And I definitely gave vibes that I wanted to get back into the action, despite taking the time to answer questions and discuss his comic project (if you're reading this Jean, I'm really sorry, come round for tea sometime!). Time feels very fuzzy for this, as I seem to remember spending too much time on that stage, listening to the track Roller Mobster by Carpenter Brut over and over and slowly growing to resent it. I've gotten better since then and like the song just fine now, but I still have trouble with that level.

The assault on the Russian Mafia's headquarter by the Fans is a 4 floor action packed romp, where they all have their own floor for themselves and aim to meet each other on the roof of the building. Things don't go as planned for reasons that weren't explained immediately. Only after Deathwish do we realise that the Fans we had played as had fallen in battle one by one and died during their siege as we were playing the next floor. Now, characters whose gameplay were unique at that point got killed offscreen, with one onscreen by the police, rightfully so as they had only themselves to blame for their demise. I felt drained by the time I had come to what I thought was the end of the game. It turned out that it was the midpoint of the whole story. A pit in my stomach was slowly forming: there was going to be more after all this?

More of everything is both a blessing and a curse, more music leaves room for tracks I'll have a hard time liking, more violence means I'll slowly be apathetic to the character's struggles, and more characters is forgetting the levels that features only one of them, wondering why they were even there in the first place and if they could have been cut in favour of a smaller cast with their unique gameplay. Excitement had passed and doubt had settled in: character driven stories are what I love most of all and the cast was slowly thinning down. Those who had died weren't seen again in the story, was it going to keep my interest? I certainly expected it to.

I finally took a break to have dinner and a stretch before coming back to continue Casualties, the final level featuring the Soldier. The stages between that one and Deathwish are wonderful, great even, but they felt as thought they don't fit into the main story, I remember later trying to rearrange all the levels, keeping in mind which levels concluded each chapters and found that everything fitted really well together as it did. I was still getting over the previous levels so maybe I wasn't enjoying them as much as I should at the time.

I'm going to be honest when I say I forget the Soldier is in the game every time. An actual wartime setting, in an alien looking Hawaii none the less, with a gameplay that's really enjoyable and prepared me for hard mode's ammunition conservation gameplay very well should be memorable. It may be due to the fact that his inclusion was to give a background to the protagonist of Hotline Miami and give the origins of the secret organisation behind the phone calls of the first game, with parallels to mission euphemisms over walkie talkies, commando style hits, and sense of loss to a cycle of violence that doesn't care for its victims or its players. The character's final moments didn't bite as hard this time, even though that one felt the most undeserved out of the whole cast.

The next four levels featuring Richter the Rat are some of the best I've experienced, by that point we were focusing on a new character we'd met in the previous game and of which I didn't think much of at the time. Seeing him was an unexpected surprise for me, a really good one because of all its touching cutscenes and tight levels. Even in his last chapter, with the track Le Perv by Carpenter Brut, reminiscent of Deathwish's nauseating track, was honestly a joy to play through, despite the difficulty. It also was a nice conclusion for the Writer's story, who instigates the Rat's recollection of the events, with a final choice between continuing the book about the vigilante group and its mysterious phone calls or reconnecting with his estranged family while there is still time and discontinuing the cycle of violence, neither choice affects the outcome of the finale, but there is definitely an obvious conclusion in there, for me at least.

Nowadays, I know all the elements and numerous characters were included in Hotline Miami 2: Wrong Number so that everything would be done in one game. Everything Dennaton wanted to experiment with, characters that tied different storylines together and both made sense of the first game and concluded its story for good. Hotline Miami didn't have room for flamethrowers or more storylines with other operators, it was an overarching story for the player, to be in the shoes of a hitman in an animal mask, with room to interpret the story for ourselves. The sequel doesn't stand on its own from a narrative sense: I'd be utterly confused by some of the stories of Hotline Miami 2 if I hadn't played the first game, since everything stems from the events of Hotline Miami. The result is that it all feels very heavy to take in all at once.

I really didn't care for Jacket's background, or why he did anything in the first game. He doesn't have a name, or a voice, or a personality, he's really boring in a story sense, but he's the perfect game protagonist. If he can be anything you want him to be, there's no room to dislike him, aside for his violent actions which he doesn't justify to himself in any way, he just does as he is told, like the soldier he once was. We feel what he feels during the violent missions, the sense that we get better and better at the game, the character doesn't improve, as there's no character to improve, we as the player are improving level by level.

So when the sequel explained that he was a veteran that fought in a war we never get the context for or care about, my first thought was that “he was just Rambo”. I hadn't watched Rambo at the time and only ever saw that character in old Atari games where you kill nameless soldiers. He'd always seemed like the generic action movie soldier that looks cool shooting away at his enemies. But since then, I've sat down to watch the first Rambo and saw the tale about young man coming back from war without education, aside from how to kill, back to a country that doesn't need him, and even despises him. It's an incredibly sad thing to watch a character broken by committing and being the victim of violence only to be rejected by the society they served.

The personal interpretations about Jacket is one of the best parts of Hotline Miami, as much as its gameplay, graphics, and music. Wrong Number builds upon that foundation by taking multiple interpretations of what Jacket could be and extends it to the cast of the sequel: he could be a jingoist with a burning hate for Russians (Jake the Snake) just as much as he could be scared for his life and willing to protect a person he loves (Richter the Rat). He's the now unwanted soldier of a war that is long lost (the Fans) just as much as he is the patriot in service of a minority struggling for his rightful place in a hostile environment (the Son). He's also a serial killer in an animal mask (the Pig Butcher) just as much as he is a killer with his own motives that don't have to be revealed to the player (Manny Pardo the Detective). And Biker’s search for answers is mirrored by the Writer, it was only fate that they would eventually meet up.

After the levels with Richter, we have the final 5 levels featuring another one of my favourite characters: the Son. He's the de facto leader of the Russian mafia, a scarred one man army with what feels like the strongest desire of the cast of characters: taking back Miami from the Colombian cartel, the new organised crime network in charge. His Father, the final antagonist of Hotline Miami, felt like a strong businessman with the plan of gaining power over the city through assimilation: striking a deal between the Colombians and their cocaine distribution, owning methadone clinics for the new addicts to heroin and cocaine, and gaining the favour of local politicians. The Son is nothing like that. He has a more aggressive show of power and control, separating himself from organically made drugs in favor for more potent artificial ones produced locally and actively killing his competition through violence, being in a revolution similar to the masked vigilantes in an attempt to undo the damage caused by Jacket in the first game.

As an aside, Manny Pardo has his final level in the middle, throughout the game we are teased with his personal investigation, the one of a serial killer called the Miami Mutilator, separate from the main plot of the game. It all comes to a head in his last level when it's revealed that he is the one behind the murders of the Mutilator, in an attempt to overshadow the media's attention of the masked vigilantes. The interpretation I developed over time was that his story arc was a meta commentary on sequels having their own story and an inevitable lack of interest from fans of the first game, curious instead about a continuation of the first game's narrative.

I remember originally thinking from the game's trailer that Manny Pardo was Jacket and getting really curious about how the story was going to go about, until I realised that he was in fact another character with his own motives and losing interest almost immediately in favour of the Fans revealed alongside him in the video. When it emerged that he was a detective, it seemed immediately more interesting than Jacket ever was, that it would be a character in search of answers, similar to the likes of Biker from the first game. The expectation was subverted, as it turns out that he has more current things to worry about and masked vigilantes are a thing of the past, crime doesn't stop happening and random violence is the norm in the world of Hotline Miami.

After the Detective's final level, we have what has to be one of the hardest challenges of the game: the final showdown between the Son and the Colombian cartel's Boss in his sprawling villa. Even after having been playing the game for almost 8 continuous hours, it really felt like what the game was leading us up to, from random street thugs to the drug army in Miami. And yet, even when the level was all said and done, there was yet another level after that. We are back to what felt like the finale a few hours ago: Deathwish, only this time it's the Son's side of the story, overdosing on his own artificial drugs and going on a overcoloured haze of hallucinatory violence.

Apocalypse is the name of that level, and it's a beautiful boss rush, where all the Fans are turned into monstrous animal shaped fever dreams that the Son has set himself out to destroy in his terrible drug trip, alongside his own men, turned into unrecognisable demons. It all leads to the rooftop, where a rainbow bridge invites us off into the void as the game's credits show up on the screen. The credits fade in favour of the rest of the cast, alive and unperturbed by the finale we as the player went through, only to realise that events offscreen trigger the end of the world, nuclear bombs vaporise them all and...

I didn't get it.

It took a good night's sleep and a bit of thinking to understand what Hotline Miami 2:Wrong Number was about: deconstructing Hotline Miami. The first game's conclusion had a hopeful tone to it, with mocking comments by the developer's stand-ins if we came back looking for more answers by playing Biker's additional levels, with actual answers that feel forced if you actually manage to find all the clues within the game. The sequel ends the world with nuclear clouds and if we start a new game, we get a new introduction at the start of the game essentially asking: “why are you back?”. There were no more answers the game could provide.

Violence is at the core of both of the games and it never seemed to stop. Hotline Miami left us wanting more, Hotline Miami 2 left us with the most violent thing known to humanity. I remember thinking that it was a deus ex machina ending, an answer to problems that seemed unsolvable. But inside the game there’s all this rising tension, focusing so much on the characters distracted me from the fact that it was culminating towards the end of the world. All the characters were trying to solve all their problems through violence, but the world wasn't going to get better through those methods. It was the only conclusion a game like that could have and I love it more than ever.

I cannot thank Dennaton enough for the incredible time I had and keep coming back to with Hotline Miami 2: Wrong Number. It has made me explore media I never would have discovered otherwise and draw things I never imagined I would come to draw. Happy 3rd anniversary to an incredible game, and I look forward to the future.

[camachameleon]

Cam’s Voltron Fic Rec 3/∞

VLD Rec Lists:  [1] [2] [3] [4] [5] [6] [7] Here’s a Fic Masterlist for my other fandoms. ( ** =  favorites )

    **Recoil/Release by Cheshyr

Word count:  22,387 (13/13)

Summary:  When Keith is bitten by an alien creature with venom that causes your dominant emotions to be amplified, the team is ready for a day of dealing with an incredibly angry paladin.

Which means they’re not ready at all for what actually happens.

Comments:  The almost stream-of-consciousness writing of Keith’s parts are really gut-wrenching because it’s as if you are experiencing it with him. (Warning for panic attacks- if you are triggered at all by that sort of thing you may want to sit this one out, it gets pretty graphic). A couple good song pairings for this fic to set the tone are Broken Crown and World Gone Mad.

    **Synergy by Kokochan & Spanch

Word count:  74,064 (10/10) 

Summary:  The vines were large, stiff, gnarly, and thick-stemmed, with blue leaves as big and round as dinner plates, but Shiro’s battle-arm was able to sever several long straggles with ease. The vines draped easily enough over the shuttle and hid it quite handily from view. “Good enough, I suppose,” Shiro said, glaring at the empty greenish-blue sky. “Come on, let’s… Hunk? What’s the matter?”

Hunk was staring at something behind him. “Shiro, don’t make any sudden moves just now, but there’s a really big lizard thing standing right behind you. Um. Two of them.”

Surprised, Shiro turned, albeit carefully. He’d never even heard them approach. That was rather impressive, considering the size of the beasts. It was as though someone had taken a pair of Arizonan horned lizards and rebuilt them more on the lines of a tiger without leaving out any of the spikes, then expanded them to about the size of an Indian elephant and added six large, intelligent blue eyes. Understandably, Shiro froze in place.

Comments: OH. MY. GOSH. OK. SO. This bad boy is Part 1 of 3, so far, with a total series word count of 241,404 at the moment. This beautiful titan of a series is named Of The Pack, and it updates with great speed, considering it has two top tier authors working on it. The several OCs in this story are so lifelike and realistic and fit so well into the universe that I forget that they aren’t actually canon and I kind of miss them when I’m reading other Voltron fics. My favorite part is the world-building it does. Everything about this fic is so dynamic and multi-dimensional, from it’s characters to the epic plot - this is the exact opposite of lazy writing. I am so here for badass Pidge, and the matriarchal Galra culture and the dragons. I👏LOVE👏THIS👏FIC👏

Also there’s magic! (with a scientific explanation, of course)

A cool song that I think goes nice with this fic is Heroes by Måns Zelmerlöw.

  The Kids Are Alright by pugglemuggle

Word count:  10,430 (3/3)

Summary:   Three Garrison Cadets Missing After Freak Satellite Crash

By Mara Garrett, News Editor | The Guardian | Monday, June 13, 2103 7:40 A.M. ET

Two seventeen-year-olds and a fifteen-year-old went missing Friday night after a rogue satellite crashed into the desert a few miles away from the Galaxy Garrison Training Facility, reports say. Garrison officials were quick to cordon off the area, claiming many of the remaining satellite fragments were dangerous and unstable. Government search parties have been sent out into the surrounding desert areas. Details are forthcoming.

—

Her brother is missing. Lance’s sister isn’t about to sit quietly while the Garrison keeps lying to the press. No—she’s going to get to the bottom of this.

(Or: The paladins’ families team up to find their kids and overthrow the corrupt Garrison regime. Told through news articles, prose, the internet, and art.)

Comments:  The format of this is very intriguing and fresh. We get to see scenes of our favorite paladins through the eyes of their friends and families, from before they disappeared and the aftermath. The open ending is still satisfying and leaves you with a sense of determination and hope for these characters that you just couldn’t help but get attached to. If you’re big on government conspiracies then this is the fic for you!

  **Patty Cake by Froldgapp

Word count:  7,829 (6/6)

Summary:  Quiet, aloof, and alone, Keith is distant from the rest of the team. Hunk begins to suspect why, and it’s only when the red paladin pushes himself too far, the Voltron gang realise he’s just as vulnerable as the rest of them.

Comments:  Aaaaahhh this fic. Something about this one has me coming back to reread it all the time even though I always cry. It is just so angsty but in a more poignant, sharp, breathless kind of way. Some of the things the characters say send painful stinging jolts into your chest and you can feel your heart cracking and then you get angry because how dare (I mean ch4 tho holy sh*t). I just want to hug Keith so much ugh. Hunk’s protectiveness of Keith gives me the strength to finish this masterpiece every time. Also, this can kind of be Sheith if you squint (or not, if you don’t).

  The Message by Shipstiel

Word count:  132,787 (45/45)

Summary:  (4:07) okay, but considr this, and hear me out here (4:08) so like, a photobooth u can do with ur pets like there’ll be lil costumes that u can dress them up in, and u can do liek, period costumes and shit with them (4:09) omg, can u imagine, u and ur cat/dog, and theyre in a lil 1800s dress and one of those lace umbrella things omg so cute

(4:15) Why the FUCK are you texting me at four in the morning with this

— 

Keith is texted by accident by some idiot one day, and honestly he’s not even sure why he responds. Or why he keeps responding. Yet somehow he finds himself drawn in, and okay, so maybe this fool is mildly entertaining after all. Who would’ve thought.

Comments:  Slowburn Klance Wrong Number AU. These two are so cute I just can’t. This is the perfect story if you are looking for something effortless and relaxing to read. Even though this contains some softcore Langst, it is still a very cute and heartwarming story about two dorks slowly falling in love. It features Lance’s mother who I fell in love with here, and the kind of supportive nosy best friends that everyone wants in real life (i.e. Hunk, Pidge, and Allura).

  **The Quiet by MilkTeaMiku

Word count:  66,700 (32/32)

Summary:  Does he not realize he’s dead?

Keith can see ghosts. As a part of his Garrison training, he’s sent to a hospital to do one year of medical clerkship - it’s there that he meets a charmingly irritating chose who definitely needs to learn what boundaries are.

Comments:  Modern Ghost AU with eventual Klance. This fic is the most suspenseful story I have ever read in my life. Idk if it’s just me, but I just have this feeling building up paragraph by paragraph of an impending… something. And it has my heart racing which is crazy because it isn’t even particularly fast-paced. There’s just a heaviness to the words that have the hairs on the back of your neck prickling. I literally have to take a breather from reading sometimes to calm down. 

A couple cool songs I think set the mood for this fic is Smother and Mirror.

  Finding Home by spacegaykogane

Word count:  26,966 (6/6)

Summary:  After the wormhole collapses, Keith finds himself stranded on a strange planet. Alone. Until Lance comes along. With their lions dead and resources limited, Keith and Lance need to put aside their differences and work together to get home. Wherever that may be, now.

Comments:  Klance. I love Stranded fics where they have to work together to survive and bond over that. So yeah this one has some whump obviously, bc you know, crash landings aren’t very fun. This one is angsty but its balanced out by the fluffiness in the end.

  Cuddle Puddle by nothingwrongwiththerain

Word count:  46,782 (6/6)

Summary:  Unexpectedly, Shiro’s hand landed on the top of his head. Apparently with Lance and Hunk taking up all the shoulder real estate, Shiro would settle for ruffling Keith’s hair.

Keith was fairly certain his soul was about to detach and abandon his shaking body on the couch. He was surrounded, in the complete and total sense of the word, by other people. Not once before, not in his whole life, had he dealt with a situation like this one.

Or, five times Keith found himself too close for comfort and one time he couldn't get close enough.

Comments:  Klance featuring ace!Keith. Don’t be fooled by the fluffy summary, this is a very angsty fic with lots of Keith whump. Basically, as stated by the author, this story is about ‘Keith struggling with physical contact and learning to accept people care about him’. I love touch-starved Keith stories, like this one. I love the scenes with Kidge bros, featuring a super supportive Pidge. 

  At the Beginning by Sakuraiai

Word count:  64,203 (12/12)

Summary:  Inspired by Anastasia

King Zarkon of the Galra empire lost his only way in to the Kingdom of Altea. In his anger, he put a curse on the royal family. The young, adopted half Galran prince Keith disappeared when the palace was overrun, never to be seen again -- or so it seemed. The only surviving princess, Allura, grieving for her child, offers a reward for Keith's safe return.

Con artists, Lance and his best friend, Hunk plan to pawn off a phony to the princess, hoping to reap the rewards. They hold auditions and choose an orphan man who has a remarkable resemblance to the missing prince -- all the way down to his fluffy Galran ears.

Comments:  Can anyone say Anastasia AU?! I waited with baited breath for each chapter to come out and I was not once disappointed. I love the integration of the different alien races in this timeless story, it all works out so well. Keith just wants to find his mommy and I just want to cry. Also Kidge bros are still my fav as always.

  out of orbit by rbillustration

Word count:  78,135 (19/19)

Summary:  Dragged apart by Haggar’s attack on the wormhole, the paladins and Alteans struggle to survive and find one another again. Luck has placed them all within the same galaxy… but their fortune ends there. Lance is stranded with a badly-injured Shiro and his relief at finding their leader still accompanying him soon turns to terror. Keith may be the only who can rectify the situation - but the Galra have him in their grasp, and they don’t want to kill him. They want him as one of their own.

Comments:  ANGST. SO MUCH ANGST. A brainwashed Galra!Keith plus a Possessed!Shiro. This is the perfect recipe for disaster if I ever saw one. If lots of blood bothers you proceed with caution. I love stranded fics.

A good song rec for this one is Darkside.

  VLD Rec Lists:  [1] [2] [3] [4] [5] [6] [7] Here’s a Fic Masterlist for my other fandoms.

[douchebagbrainwaves]

THE COURAGE OF PERSON

So don't be demoralized by how hard it is to believe now, the big money then was in banner ads. Companies ensure quality through rules to prevent employees from screwing up.1 Too much money seems to be a bunch of guesses, and guesses about stuff that's probably not your area of expertise. Sometimes inexperienced founders mistakenly conclude that manipulating these forces is the essence of fundraising. But that's not how any of the specific heresies it sought to suppress.2 For example, at the high water mark of political correctness, because it enabled one to attack the phenomenon as a whole without being accused of whatever heresy is contained in the book or film that someone is trying to censor. Time after time VCs invest in startups founded by eminent professors. So don't even try to bluff them.3 Since we all agree, kids see few cracks in the view of the world.4 At every point in history, our moral map almost certainly contains a few mistakes. There are two things you have to worry about.

But boy did things seem different. I was doing: sketching.5 The first time I visited Google, they had about 500 people, the same term was used for both products and information: there were distribution channels, and TV and radio channels. We tend to regard all judgements of us as the first type. That's ultimately what drives us to work on something interesting with people I like.6 The view of history we got in elementary school. The average startup probably doesn't have much to show for itself after ten weeks.7 Relentlessness wins because, in the sense that it sorted in order of how much money should they take and what kind of software that makes money and the kind that's interesting to write, and Microsoft's first product was one, in fact, but no one will work on a harder problem unless it is proportionately or at least log n more rewarding. The ideas that come to mind first will be driven by ambition: self-consciously cool person wanted to differentiate himself from preceding fashions e. Not likely. This applies to dating too. When there's something we can't say that are true.8

Related fields are where you go to college. It's a lot harder to create something people love and figure out how to connect some company's legacy database to their Web server. It's true they have a lot of people think they're too young to start a company to do something they don't want to take responsibility for telling 22 year olds to become mothers.9 But they work as if they had.10 And since success in a startup depends so much on motivation, the paradoxical result is that scientists tend to make their offices less sterile than the usual cube farm. So how can I claim business has to learn it? Then if things work out you can be pleasantly surprised. There is a threshold you cross. Usually their motives are mixed.11

So your site has to say Wait! I like. The best was that the three-month batch format, which we were forced into by the constraints of the summer, turned out to be 13: Pick good cofounders.12 The list of what you can't ask in job interviews is now so long that for convenience I assume it's infinite. When I left high school I was, I thought, a complete skeptic.13 The problem with the facetime model is not just that hackers understand technology better, but that you can stop judging them and yourself by superficial measures, but that they're driven by more powerful motivations.14 Last year one founder spent the whole first half of his talk on a fascinating analysis of the limits of the conventional desktop metaphor.15 Disasters are normal in a startup: a founder quits, you discover a patent that covers what you're doing, and b any business model you have at this point is probably wrong anyway. Backing off can likewise prevent ambition from stalling.16 Not intelligence—determination. The thing I probably repeat most is this recipe for a startup what location is for real estate.17 Sometimes judging you correctly is the end goal.

I found to my surprise that I was interested in AI a hot topic then, he told me I should major in math. Like open source hackers, bloggers compete with people working for you have to worry about novelty as professors do or profitability as businesses do. When I say business doesn't know this, I mean the structure of business doesn't reflect it. You learn to paint mostly by doing it, and gradually beat it into shape. I repeat is to give people everything you've got, right away. Subtract one from the other, and the most common reason they give is to protect them.18 Why didn't anyone think of that. A suburban street was just the right size.

Another way to be good. And Hewlett-Packard. In fact most aren't. Was it because the founders were bad at presenting, or because they're a way to work faster.19 The biggest fear of investors looking at early stage startups is that there is even something of a fashion for it in some places. I suspect the only taboos that are more than taboos are the ones likely to succeed in a startup.20 You don't need to. But more people could do it than do it now. There are worse things than seeming irresponsible. 2 2 is 5, or that we'd meet them again.21

So they invested in new Internet startups. Except our choices are immediately and visibly tested. We have some evidence to support this. So for all practical purposes, there is nothing so wrong as the principles of the most valuable things you could do in college. And since most of what big companies do is boring, you're going to stick around no matter what, they'll be more likely to get money. The median visitor will arrive with their finger poised on the Back button.22 The cubicles were full of programmers writing code, product managers thinking about feature lists and ship dates, support people yes, there were actually support people telling users to restart their browsers, and so on.

Notes

Well, of course, that alone could in principle 100,000 computers attached to the yogurt place, we found they used FreeBSD and stored their data in files. Or more precisely, investors treat them differently.

But the most recent version of everything was called the option pool as well, since human vision is the desire to do good work and thereby subconsciously seeing wealth as something you can control. I preferred to call them whitelists because it is. In either case the money is in the field.

It would be to say because most of his first acts as president, and instead focus on the other sense of not starving then you should be asking will you build this? I mean by evolution.

Unless we mass produce social customs. You should always get a sudden drop-off in scholarship just as on a scale that Google does. But the most abstract ideas, they tend to be low.

He couldn't even afford a monitor.

Thanks to Daniel Sobral for pointing this out.

A scientist isn't committed to is following the evidence wherever it leads. I learned from this that most people will give you money for other people think, but since it was 94% 33 of 35 companies that got bootstrapped with consulting. Mehran Sahami, Susan Dumais, David Heckerman and Eric Horvitz. Most new businesses are service businesses and except in rare cases those don't involve a lot on how much they liked the iPhone SDK.

For more on not screwing up. They have no idea what most people realize, because what they're really saying is they want it. One-click ordering, however, you can talk about the qualities of these people.

They may not be far less demand for unskilled workers, and there are certain qualities that some groups in America consider acting white. One sign of the things you like a headset or router. He made a lot of detail. People were more the aggregate are overpaid.

Obviously, if an employer.

And the expertise and connections the founders want to take board seats by switching to what you call the years after Lisp 1.

Some founders deliberately schedule a handful of lame investors first, and no one who's had the discipline to pull it off. Or a phone that is exactly my point. There's not much to say that was killed partly by its overdone launch. Cook another 2 or 3 minutes, then their incentives aren't aligned with some equivocation implying that you're small and then just enjoy yourself for the spot, so the best approach is to say that a company tuned to exploit it.

Advertisers pay less for ads in free publications, because any invention has a spam probabilty of. Put in chopped garlic, pepper, cumin, and Smartleaf co-founder before making any predictions about the origins of the products I grew up with an online service, and one didn't try to make money from writing, he found himself concealing from his predecessors was a good product. What you learn in college. It did.

This is, it would take Abelson and Sussman's quote a number here only to the option of deferring to a can of soup. Related: Reprinted in Gray, Donald J. I quote a step further. Vision research may be a distraction.

The air traffic control system works because planes would crash otherwise. If you want to trick admissions officers. The reason is that it had no natural immunity to messianic figures, just as it's easier to get the money is in itself deserving.

I'm not saying that's all prep schools improve kids' admissions prospects.

This wipes out the same intellectual component as being a tax haven, I use. People tell the craziest lies about me. If big companies to build consumer electronics.

They won't like you raising other money and wealth. Then when we created pets. A rounds from top VC funds whether it was actually a computer. VCs.

And yet when they talked about before, and since you can ignore. Whereas when the audience already has to be free to work like blacklists, for example. In fact, for the more effort you expend as much time it was wiser for them.

There are two very different types of studies, studies of returns from startup investing, but there are signs now that VCs play such games, but unfortunately not true!

Some of the rest of the War on Drugs.

Robert Morris wrote the ordering system, written in 6502 machine language. The first assumption is widespread in text classification. To be fair, the transistor it is probably part of wisdom.

[craigrcannon]

Employee #1: Yahoo

Employee #1 is a series of interviews focused on sharing the often untold stories of early employees at tech companies.

Tim was the first employee at Yahoo, its Chief Product Officer for eight years, and is now a partner at YC, so we thought it would be fitting to kick things off with him.

Discussed: Meeting the Founders, Writing Yahoo’s Business Plan, Leaving Harvard Business School Early, Creating the Banner Ad, Yahoo’s First Ad Sales, Being an Early Employee After a Management Change, and Founder vs. Early Employee Differences.

Craig : What did you do before Yahoo?

Tim : Before Yahoo, I learned that I preferred working at small companies. I really didn’t think of it as entrepreneurship at that point. My first work experience out of school was at Motorola – a big company. And at the time, in the early ’90s, Motorola was held up as a model of a well-run company. Every business magazine at the time portrayed Motorola up as the ideal.

I went there with a positive attitude. The work was interesting. It was rewarding and intellectually challenging. But after a few months, I remember looking at my boss and my boss’ boss, and my boss’ boss’ boss, and saying to myself, “You know what? I don’t want any of their jobs.” I saw how they spent their time and didn’t find it interesting or very rewarding. They spent their time managing meetings and office politics.

This wasn’t my vision of what work was. To me, work was doing and making things and being able to see the fruits of that labor. At the end of the day or at least after a short period of time, I need to point to something and say to myself ‘that’s what I’ve been building.’

My experience in this big company was very different from that idea. If I rose up the managerial ranks in this big company, I could easy see myself going home and asking myself, “What did I do today?” and not having a very satisfying answer.

Craig : You couldn’t point at stuff.

Tim : That’s right. It‘s not that these managers weren’t doing things, but everything was so time inefficient. In big companies, time scales are longer. And the bullshit factor of office politics is high. For me, maintaining passion for your work when the feedback mechanism is that slow is difficult.

Once I internalized that big companies weren’t my cup of tea, I decided to go to business school in order to make a change.

Craig : But you ended up leaving Harvard Business School for Yahoo, right?

Tim : That’s right. I left in the middle of my second year. The whole point of going to business school was to figure out what I wanted to do and get exposed to a lot. The case study method was great for that.

I soon concluded that small companies were where I would thrive. I also thought that it would be great to work with friends. What could be more rewarding that working hard and doing something important with friends? And so here I was in business school thinking this when my friend Jerry Yang calls and says, “Hey, I want you to come out and join me and my co-founder start a company.”

Craig : That was the opportunity.

Tim : Exactly.

Craig : Just to rewind for a second, how did you guys meet?

Tim : Undergrad. Jerry and I were both double E’s [electrical engineers]. We spent 4 years studying together.

Craig : Cool. So Jerry calls and you’re thinking, “Oh, this might be it.” Did you know that Yahoo would be a thing, or did you just feel like this is a good first step?

Tim : The latter. I didn’t know it would be a big thing. Jerry came to visit me at the beginning of my second year at HBS. At the time he was a PhD student in EE at Stanford. He knew I was looking for a new job, and I told him, “I want something small.”

He called me a couple of months later and said, “Hey, a buddy of mine, my research partner and I started this thing. You should check it out,” and he showed me the world wide web for the first time. There was almost nothing online at that point, but I clearly remember a website company called Satchel.com, which published live sports scores.

I’m a sports junkie. So before I found this website, I used to sit and watch ESPN just for the score ticker that runs across the bottom of the screen. At the time, it only came on twice an hour. I was pathetic. I literally would just sit there and wait 30 minutes for the damn ticker to get the live score for Detroit Piston games. There was no other way.

Craig : Hahaha.

Tim : So Jerry showed me this site and I asked, “You mean I can just hit refresh and I get the live score instantly?” Okay, I got it.

Craig : That’s how you got the internet?

Tim : That’s how I got the internet.

Craig : That’s the best example I’ve ever heard.

Tim : After that, I was hooked. Jerry and his cofounder, David, had built a directory of the world wide web, which was finite at that point. Given where the internet is today, it’s hard to imagine. It was largely just double Es and technical folks posting their dissertations and sharing their papers. Only gradually did they make sites about their hobbies and quirky things, because they realized, “Hey, it doesn’t have to be just dissertations.” So Jerry and Dave started collecting these things and organizing them for everyone.

And so when Jerry called me at school, he said, “Hey, I have no idea if this is going to be big, but I know you’re looking for a job. So how about if you join David and me? Come out to Silicon Valley and get a regular 9 to 5 at a place like at SGI [Silicon Graphics], and then you can moonlight with us. And we’ll see where it goes.” I’m like, “Sounds good.”

Craig : And so where does this fall? Is this the summer before your second year?

Tim : No, this is November of my second year. And I’m thinking, “Sounds good. I’ll ramp up my job search in Silicon Valley, at SGI or Intel or wherever.”

Craig : Yeah, there are plenty of places like that.

Tim : Yes, plenty of places. But that’s also the time when internet usage started to take off.

A couple weeks later Jerry calls me and says, “Hey, we’re going to go raise some money. We need a business plan. Can you help us write a business plan?”

So I flew out to Stanford for Christmas break. I spent two weeks with them, wrote the business plan, then went back to school. They took the business plan, which they probably really didn’t need, it was mostly just a formality at that point, and they raised money from Sequoia Capital.

But in those two weeks I learned a ton from them about the opportunity and put it into a business plan format.

Again, that was about the same time that internet usage started to take off. So a couple weeks after I returned to school, Jerry called and said, “Ah, you know what? This thing is taking off. It might not be a moonlighting job by the time you graduate. It might be a full-time gig.” I’m like, “Fine by me.”

Craig : That just saved me time.

Tim : Exactly, I wouldn’t have to look for another job.

So a few weeks later Jerry calls and says, “Sequoia is going to give us money and we’re going to go for it.” I’m thinking,

“That’s awesome. I’m in. I will see you in June right after graduation.”

Two weeks later, Mike Moritz, a partner at Sequoia, calls me, “Tim, we have a problem.” “I’ll be out after my graduation on June 8th. What’s the problem?”

“We don’t need you in June.”

“Huh? Jerry said I’m in. What’s changed?”

“Well, this ship is sailing. You either need to get on now or don’t bother coming.”

“What’s that mean?”

“We need you in February, not June. Your position will be filled by June.”

So I’m like, “I’m in.”

Craig : Wow. So you just ditched business school?

Tim : It was a little more involved than that. It included a very uncomfortable phone call with my parents, who paid for business school. Luckily, I did end up graduating.

Craig : Nice. So what was your day-to-day when you moved out?

Tim : It was whatever needed to be done. I was an EE, but the other three were all more technical than me. They hired me as the business person so I had to do all the operations and business stuff – including figuring out if there was even an ad market. No one had ever sold advertising on the Internet.

Craig : So advertising was the clear strategy from the very beginning for you. That was in the business plan.

Tim : That was in the business plan. I shouldn’t say that nobody had sold ads online before though. Other people had sold advertising on the Internet, but not at scale and not as their primary business.

I think it was Wired Magazine that was the first one to sell an ad online. So there were the beginnings of something, but Wired was an offline magazine company. It wasn’t their primary business. There wasn’t much else being sold online.

So we came up with the traditional banner ad size that still exists today and tried to figure out how to sell it. At the time, the only people that used the Internet were traditionalists. And what I mean by that is the internet was used exclusively for the non-commercial sharing of information at the time. The idea of commercializing the internet wasn’t accepted by the very people using the internet. Of course, the number of people and the demographics of those people were rapidly changing.

Craig : So your job was to shift how that community was thinking or bring other people online or both?

Tim : Both.

Craig : And so you are cold calling people to sell ads? What were you doing?

Tim : Jerry and I tried to figure out the business side of things and we quickly realized that we were not the best people to sell ads. So we hired an outside agency in L.A. and convinced them to try to sell ads on the internet.

We decided we’ll sell every page on our site, except the home page, to five advertisers for a million bucks a pop. That made us $5,000,000, but they were the same 5 ads on the site for an entire month. Our users hated it.

Craig : What was the traffic at that point?

Tim : I can’t remember the exact number, but it was a double digit percentage of the traffic on the web. It was a big number.

Once we got advertising going, I was thinking, “Oh my god, we’re in the ad business. I’m an engineer, not an ad sales guy. As much as I’d love to pull an ad sales guy out of me, I’m not that guy.”

Jerry realized he wasn’t an ad sales guy either so we hired a CEO, a guy by the name of Tim Koogle. He came on in August of 1995 and helped us build an ad-supported media company. But that was a full seven months after I got there. Traffic on the site was growing at an amazing rate, but we were really struggling to build an organization that could keep up with the growth.

We knew we were on to something potentially really, really big and we knew we didn’t have enough experience to execute it alone.

Craig : So what interests me is throughout this phase it sounds like because you’re buddies with the founders and you’re sort of treated as this co-founder-type guy. How did that dynamic work?

Tim : Jerry and David were the founders and when a big decision needed to be made, like who to raise money from, they would lock themselves in a room and come back with a decision. That said, the day-to-day operational decisions were all made by consensus at the time. There were four of us, and in that sense, I certainly felt like a co-founder.

Craig : After you closed those first ad sales were you all still freaking out over if this would be viable to not?

Tim : It was probably a full year of discomforting uncertainty. Even after we brought Tim Koogle in, it wasn’t a sure thing. The Internet was a sure thing but Yahoo wasn’t a sure thing. It probably took until the end of ’95 to guarantee that.

Craig : Interesting. Did how you feel about the company change as you scaled?

Tim : Nope. I was all in the whole time.

Craig : How long did you stick around?

Tim : I was there until 2003.

Craig : How was it to ride that wave, especially when the bottom fell out in 2000?

Tim : When things are going well and you’re in a growth industry, you don’t have to deal with many difficult issues. It’s the old cliche, winning solves everything.

Craig : For sure.

Tim : It’s really true. It solves everything… or maybe better said, it masks all your mistakes. A lot of the mistakes you make get masked because you receive almost no negative feedback.

But then the bottom fell out and the board let Tim Koogle go. The upper ranks of management emptied out pretty quick, except for me and the CTO who stuck around. We got a new CEO and set of peers in upper management. Let me just say, I learned a whole lot more about business on the way down than I did on the way up.

Craig : When you think back on your time at Yahoo, how do you feel about it?

Tim : Well, I definitely made some of my closest friends there. I compare them to childhood friends. I can pick up the phone and call any of 50 people and talk to them as if no time had passed. It’s a pretty cool feeling.

Craig : That’s really neat.

Tim : It was formative in so many different ways. Granted it was early in my career, but then again most of the entrepreneurs at YC are early in their careers, too. It’s this intense experience where for the first time in your life where you’re defining your own test and seeing if you measure up. You find out a lot about yourself in that environment.

Craig : I imagine it really builds confidence.

Tim : It does.

It was certainly career defining. The financial success was nice, but it was way more than that. The entire process helps define who you are, what you’re good at, what you want to do, and what you think is important.

Craig : When it does work out for someone in your shoes, I feel like it really helps solidify your belief in how you understand people and markets.

I’ve been wondering if through these interviews we’ll find a strong correlation between early employees and people who are good investors. The way I see it, someone like you, you’re like, “Ok, good people, good product, and I can add value. I’m in.” Founders might be much more singularly focused. You know what I mean?

Tim : I do.

I guess Imagine K12 is the exception because that was my idea with Geoff, but Yahoo wasn’t my idea and QuestBridge wasn’t my idea. It was me recognizing a good idea and then being able to contribute to it, and I did that twice in a row. Even with Imagine K12, you could say, “Well, PG is really the one that kind of defined how to help companies… I just applied it in a different realm.”

Craig : Yeah, exactly.

Tim : But I guess you could say that about almost any idea.

I’ve never felt like an idea had to be mine in order for me to be passionate about it or want to contribute. I hope that helps me be a better advisor and investor.

Craig : I think whatever that quality is, that is the exact differentiator between the person who needs to start something and the person who’s comfortable accepting risk but will work on someone else’s idea.

Tim : You think so?

Craig : I think it can be easier to do your own thing, even if it’s a bad idea, because it feels cooler.

Tim : I think there’s social cache to starting your own company now. Back in the 90s, it wasn’t like that. There was no social backdrop to it. You didn’t go to bars and talk about it.

On one hand, I guess it could be seen as a lack of confidence to not do your own thing. But on the other hand, it could be seen as not letting your ego get in the way of recognizing a good idea. I can see both sides and honestly, I don’t know where the truth lies.

For me, my sweet spot is when I can say, “That’s a great idea. It’s just getting started. Count me in.”