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buzzedbabe · 6 years

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@thewolfdragon @richard-madden @maddennfl86 @thenorthremembersalways @thefashionprofessor @robbstarkmademedoit @what-would-wonderwoman-do

story below for those that can’t read it

How much time are you spending thinking about Bodyguard? A lot, I bet. The new BBC thriller, about the relationship between an ambitious and unknowable home secretary and her PTSD-addled protection officer, was written by Jed Mercurio of Line of Duty fame, and was cynically and artfully designed to hook, obsess and fixate an audience into appointment viewing.

Bodyguard is made to steal us away from all newly acquired suit-yourself, binge-watch and content-stream habits, with charismatic heroes who might actually be despicable antiheroes and a succession of frenzied plot twists that simply must be consumed on the night lest someone catch you out with a spoiler on social media. Even if that doesn’t happen, even if your viewing isn’t partly ruined by a stray Facebook comment, watch an episode even a little late and find yourself locked out of all the best conversations, the most detailed post mortems, most frenetic speculations. Bodyguard is, in essence, a middle-aged Love Island, a reason to gather excitedly round the screen at the prescribed hour in a way that hasn’t really happened since the late Nineties.

Bloody hell, it’s good, I tell its star Richard Madden. The 32-year-old Glaswegian actor made his name as Robb Stark in Game of Thrones and consolidated it as Prince Charming in 2015’s Kenneth Branagh-directed Cinderella. Now, after playing Mellors in Mercurio’s 2015 Lady Chatterley’s Lover for the BBC, he trembles on the verge of Poldarking himself into borderline indecent, heavily fetishised glory as Bodyguard’s David Budd, the protection officer at the heart of the story.

“Oh, right,” he says. His accent is broad, non-posh Scottish; unexpected to those who remember it as generically Yorkshire in Game of Thrones. His eyes are intense. He’s arch and funny; he’d probably qualify as dangerously charming if there weren’t also something watchful and cautious about him. “Thanks very much! I enjoyed playing something a bit more adult, less boyish. I’m keen to play more grown-up roles, without actually growing up myself. Pretending to be adult. I’m done playing princes. Princes and royalty and lords. Also, it’s nice not to do an accent.” David Budd is – conveniently – Scottish. “One less thing to think about. Shall we get a drink? It is a Tuesday night, after all.”

It’s a Monday, I point out, but all the same we order a beer and wine from the front desk of the photographic studio in which we sit.

This is not the first time Madden and I have met. Three years ago, he bowled up to me at a friend’s party and demanded to know why I hadn’t featured him in Grazia magazine’s Chart of Lust recently. A placing in the list (which I compile weekly, and does exactly as its title suggests – rates the most fanciable people of that moment’s news), is deeply coveted among those who present themselves as above that kind of vanity, but definitely aren’t. Newscasters, Hollywood A-listers, national treasures, disruptive artists (Grayson Perry once told me he’d pinned his mention up on the wall in his studio), award-winning novelists … I’ve been lobbied by spads chasing mentions for their political charges on more than one occasion. But this was the first time a candidate had ever approached me in the flesh. I was both impressed and amused by his front.

“It does my frail ego good,” he’d elaborated, which, I’d thought, demonstrated a surprising amount of self-awareness in a young actor.

I remind him of our first meeting.

“Oh, God. Great start,” he says. Then, “I’m just trying to work my way up [the chart].”

Well, let’s see how this goes, shall we.

One of the reasons I think Bodyguard resonates so hard with its viewers is that it’s dealing with themes of safety – and so are we all. Terrorist attacks, suicide bombers and rooftop snipers recur from episode to episode; our current nightmares, and most catastrophising daytime fantasies, the ones that flicker through our minds every time we board a plane, go to a concert venue or swipe into a subway system, are played out in high definition on our small screens. Madden’s David Budd thwarts and buffers and foresees and repels; a hero with a fantastically of-the-moment brief. If Poldark is our ultimate historical TV pin-up – manly, tortured, good with his shirt off – then Budd is our ultimate Threat Level: Severe pin-up – manly, tortured, good in a bulletproof vest (“An actual bulletproof vest,” he’ll tell me, “which is so comfortable, for five months”).

I run this theory past Madden. How nervy is he in London right now?

“I don’t feel unsafe. I used to be more panicky, but I’m just less uptight. A few years ago, I’d get off at Tube stations because I’d have a sense of something.”

How much of David Budd’s wariness did Madden inherit through the course of filming?

“You get to a point where you clock everything. That’s what I’m doing for 12 hours a day, so …”

Walk into a room, scope it out for the nearest exit?

“I did that anyway. My dad’s a fireman, so that’s built in. Check into a hotel, first thing I do, find the fire exit.”

Richard Madden was born just outside of Glasgow, an only boy among older and younger sisters. His mother, Pat, is a classroom assistant. There were no other performers in his close family – no pub-singer uncles, no sisters at dance school.

You’re, like, a rogue luvvie.

“Yup!” he says.

How does that happen?

“I don’t know. I was fat. And shy. Crushingly shy, going to what was a fairly tough high school. Aggressive. Masculine. So I thought the best thing to do would be to go and be an actor. Ha ha! Not go and play football. Or get good at boxing. I’ll go and be an actor. They’ll love that.”

Aged 11, Madden joined Paisley Art Centre’s youth theatre programme. “And of course, they did not love that. But then I managed to dodge a couple of years of school, because …”

Because he was good enough to be cast, as a young teenager, in professional roles: in the film adaptation of Iain Banks’ Complicity, and in a kids’ TV show called Barmy Aunt Boomerang.

“So I was like, ‘I’m going to be acting, and not go to school.’ And get paid.”

Did you realise you were good? “I don’t think you ever feel good at it.”

He gave up acting in his mid-teens – “Life got a bit shit, when you’re on telly, among your peers, and you’re 14 years old”. He returned to it when he was 17, “because you have a bunch of teachers going, ‘Right, now you must decide what to do with the rest of your life,’ and 17 is of course the best time to choose.”

In 2004, he began studying at the Royal Scottish Academy of Music and Drama. “I wasn’t allowed to apply for drama school unless I applied for a ‘real’ course as well, which was computing science. I didn’t even know what it was. Had no interest. And then, luckily, the day before my first exams, I received a letter saying you’ve got into drama school, so I went to my exams and just wrote my name.”

At 22, barely out of the RSAMD, he was cast as Robb Stark in HBO’s epic, fantastically successful Game of Thrones. Stark is the noble, brave, integrity-hampered son of Sean Bean’s Ned Stark; a character with a genuine and credible claim on the kingdom’s iron throne, all of which condemned him to a phenomenally gruesome death in an episode entitled The Rains of Castamere, only fans of the show (among whom I count myself, unashamedly) call it “The Red Wedding”, on account of the blood-drenched ceremony during which Madden, his pregnant wife and his mother all die.

Madden says he thinks that early, formative brush with a TV career was both “a head-f***” and, “I was so thankful for it, because, going into the world of Game of Thrones, I’d already learnt so much from doing it as a kid, of feeling isolated, or getting arrogant because you’re on a TV show. I’d kind of done all that. I could deal with it a lot better.”

A lot better than whom, among your co-stars?

He cackles. “Wouldn’t you like to know.”

Yes! Can I guess? “No.”

Madden went into Game of Thrones knowing he would die within three series – the books on which the shows are based spelled out Robb Stark’s demise long before Madden was cast – which he thinks is a good thing, professionally speaking. “I didn’t just want to be known as that guy from Game of Thrones.” It also meant that his celebrity has, until this point at least, been tinged with pity, partly for the grotesque manner of his fictional death, partly because he was booted out of that juggernaut of a TV sensation early.

That might be about to change with Bodyguard. I am reasonably confident Madden’s fame is about to be tinged with something rather more lecherous. David Budd is in no sense a straightforward romantic hero – physically and emotionally scarred, with an undivorced wife and kids squirrelled away in a safe house – but heavens, he does brooding intensity well. His love affair with Keeley Hawes’ home secretary, Julia Montague, is as intensely sexy as it is quietly subversive, for making no reference to Hawes’ Montague being ten years older than Madden’s Budd. The whole thing is designed to charm the pants off us, and I wonder how prepared Madden is to receive the unbridled lust of thousands of women on social media.

If Twitter erupts with lechery …

“I won’t look.”

Why?

“Because if I do, and if I believe someone going, ‘Oh God, he’s hot,’ then I’ll also have to believe the person that goes, ‘He’s got pumpkin teeth.’ Do you know what I mean?”

Yes, but, you are widely considered handsome, so …

“I don’t see it.”

Truly not?

“Truly not.”

It is form for beautiful young actors to deny their looks, in the interest of seeming more humble and likeable than they really are, but I think, in Madden’s case, he could mean it. He tells me fame has made him feel less attractive, not more. “You chat to a girl at a bar, have a couple of drinks, and shy Richard is slowly going. This is going well. And then it’s, ‘My boyfriend’s a really big fan. Can I get a picture?’ And you go, ‘F***.’ You think they think you’re hot, but it’s because you’re on telly.”

I ask Madden if he thinks he’s irredeemably defined by the chubby, shy child he used to be.

“I feel like I should lie down on that sofa and give you a hundred quid.”

Were you really so scarringly fat?

“Thirty-eight inch waist when I was 12. I didn’t wear denim until I was 19, because denim is really hard to take up. My mum couldn’t take my jeans up.”

Would you say you have body issues?

“Absolutely, yeah.”

Despite all of which, Richard Madden does OK with women. When I originally met him, he’d been in the final stages of a long-term relationship with the actor Jenna Coleman, who stars as Victoria in the ITV show, and who is now in a relationship with her onscreen Albert, Tom Hughes. Since then, Madden has been gossip-column-linked to a succession of beautiful women – model Suki Waterhouse and TV presenter Laura Whitmore among them – none of whom seem notably put off by his pumpkin teeth.

“I think in the last year I was, as far as the tabloids went, dating seven different people. And when you receive a text saying, ‘Are you sleeping with blah blah,’ and you go, ‘No,’ that’s a bit weird.”

Who are you sleeping with?

“I’m not saying.”

But you are sleeping with someone?

“I am sleeping with someone. I am very happy with someone. There are pictures of it on the internet.”

If it’s the one everyone thinks you’re dating, I say – by which I mean the 21-year-old Ellie Bamber, with whom he was pictured most recently at the Serpentine Gallery summer party – then she’s another actor. Is it really a good idea to go out with other actors?

“Yes and no. Yes, because you understand what each other’s going through. No, because, there’s a certain level of self-focus you need, in order to do the job you’re doing. That’s hard on all relationships, because what am I going to talk to you about? I walk up and down for 12 hours a day, dealing with this character’s shit. That’s all I’ve done, every day, for the past three months … I really haven’t got anything to offer you as a friend.”

We return, briefly, to Bodyguard. He says he got on brilliantly with Keeley Hawes. “Love her, love her to pieces. She saved my arse, because it’s not a fun job. It’s not a comedy. But then Keeley and me, me and her, off screen, were just like two kids.”

Were you paid the same?

“No idea. I imagine she earned more. I care less about how much other people are paid, and more what it takes for me to shut up and go and do my job. The equality thing needs to be addressed hugely between male and female co-stars; I know that from friends of mine. But there’s only so much I can do for myself. Agents and lawyers, they do all that stuff. I just kind of deal with what I need to, so I don’t look a producer in the eye and f***ing hate them when they’re talking about their villas, and you’re thinking, shit, I’m getting the bus at the weekend, because I don’t have the money for a cab, you know?”

How rich are you?

“Not very. People think I am, because of Game of Thrones, but you know, when I signed up for that I was 22, with f*** all on my CV, so I was paid f*** all.”

Then, somehow, we end up talking about his body again.

“In between filming, I eat pizza, drink, don’t work out, get fat, then it’s six weeks till you have to be naked again. It’s always six weeks. Actually, that’s if you’re lucky. I have ten days till I take my clothes off again this time.”

What’s the occasion?

“I’m filming Rocketman, the Elton John film, and I play John Reid, his first boyfriend, his manager for 28 years.”

A straight man in a gay role; casting that has become contentious after Disney named comedian Jack Whitehall, who is straight, as the voice of its first openly gay hero.

“Yeah, and Taron Egerton [who is playing Elton John] is a straight man in a gay role,” says Madden, “and I think we’re all f***ed if we start going down the route of you can only play a gay part if you’re a gay actor. Diversity, equality and pay – of course we need to make sure of all that, but at the same time … I read reports that so and so’s pulled out of this role because they’re not transgender, and you go, yeah, but they’re a f***ing actor, and they’re probably really f***ing good in the part, and maybe that is part of the reason why that film’s getting made …”

We wind up with him telling me he isn’t bothered about an Oscar. “Because, who won best actress last year? Best actor? Best supporting actor? What won best musical?”

No idea.

“So what does it matter?” he says.

After which, he is beautifully mocking (off the record) about a very famous actor’s latest endeavour, before hugging me goodbye and pretending – well – he hopes to see me again soon, socially. Richard Madden made it to No 2 in the current issue of Grazia’s Chart of Lust Bodyguard continues tomorrow at 9pm on BBC One. Episodes 1 and 2 are on BBC iPlayer

#richard madden #bodyguardbbc #robb stark

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scriptlgbt · 7 years

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I have a character who is trans, and I want to make sure I write him properly and as a real person without succumbing to stereotypes. So I was wondering if any of you would be willing to make a list of the most common and/or incorrect stereotypes about trans people? I know it's a lot to ask, and I totally understand if you don't have the time. But you don't know if you don't ask, right? Thanks!!

After a fruitless attempt to find a list for you I have come to conclusion that I’m just gonna have to write one myself… so please forgive me for the disorganised mess this is going to be, I’ve been digging around the internet grabbing whatever I can find. I’ll link to articles whenever I can, and some of these tropes don’t have names yet or have been named by me and the other mods. Also some are beliefs but people apply them to trans characters too. Lets go!

Notes: I’m going to add FIM (fine in moderation) to the ends of tropes that are perfectly fine, but are overused (given the very small amount of transgender representation, these tropes became big problems very quickly but aren’t harmful individually - or at least some parts aren’t)

Bury Your Gays/Punish Your Gays - (here gay is used as an umbrella term for any characters in the community) this trope is where LGBT+ characters are killed or punished and given no chance of a positive future for simply being in the LGBT+ community

Trans Tribulations - this is basically where characters are miserable because they are dealing and facing others transphobia or misconceptions or their own gender dysphoria (FIM)

Forcibly Outed and The Great Trans Reveal - this is where either another character forcibly outs a trans character to others, or when their transness is found out without their consent/forced consent (for example: someone walks in on a trans person while they’re changing to see them wearing a binder or possible even nude, or when a character is injured and when trying to save them others they find out they’re trans.)

Villainous Trans or Gender Non-Conforming Folks (link contains sensitive material) - this is pretty self explanatory, it’s villains who are either coded or explicitly trans and their transness is large part of why they are villainous (and often “creepy”). They’re often made to be predatory and violent

Trans Folks As Victims / Tragically Trans (same link as above) - those poor tragic trans folk who are ostracised, brutally murdered, and forced into poverty/sex work but screw doing anything to actually help them! (this appears a lot in crime dramas)

Not Truly People - when trans/nb characters aren’t treated as real people or are treated as caricatures or objects

Cis Is Better - the belief that being cis is better than being trans/nb so trans/nb folks all obviously want to be cis

Trans Since Childhood - the belief that all trans folk have known they were trans since childhood/got the opportunity to transition at a young age (FIM, some trans people do know since childhood but not all. Some people are figuring this out in their 60s, they deserve as much respect and representation as young trans folk)

Trans = Gay - trans people aren’t really trans they’re just gay and have internalised homophobia! (sarcasm)

The Knowledgeable Ally - this cis ally knows everything to do with trans folk, in fact they know even more about being trans than trans folk do! They kindly share their bottomless knowledge and are always there to correct trans folk. In stories these brave heroes are often at hand to take transmen by the hand and tell them how terrible it is to ace bandage and give them a binder (that despite them not measuring them fits perfectly) and show them a better way to be trans (people should absolutely not use ace bandages to bind but it’s the patronising nature in which this is done that is the problem)

Trans = Gross / Trans Is Misleading - the “I was gonna get with this hot chick but then it turned out she had a penis and I started puking!” thing, apparently it’s supposed to be funny?

TRIGGER WARNING FOR NEXT TROPE

Predatory Trans Women / Invading Trans Women / Trans Women Are Predatory Men (straight or gay) - the belief/ rhetoric that trans women are straight men who want to invade lesbian spaces to to rape cis lesbians ( and to turn them straight). Or that trans women are gay men who want to rape straight men

END

Delicate Trans Boy - the “trans boy are soft and delicate” or “boys-light” thing, it’s basically where people infantilize and fetishise trans guys. (FIM - other than the infantilizing and fetishising thing, don’t do that). These characters frequently can do no wrong or their wrong doings are glossed over/ignored

Trans Guys Are Either Super Masculine or Super Feminine - no in between (FIM - this may be because of societal pressures, please do explore)

Trans Women Are Either Super Feminine or Super Masculine - no in between (FIM - this may be because of societal pressures, please do explore)

Transmen look extra feminine / Transwomen look extra masculine - this is done to establish their non-cisness/show how abnormal trans people are, transmen are all super curvy and soft and all transwomen are all very tall and very hairy ect. This is separate to the above tropes because this is usually used when fetishising trans people and is often done to other trans people from the “normal” cis people

Only Skinny White People Are Trans/NB - our media pretty much only includes trans/nb folks as skinny white, androgynous or hyper masc/fem people. This is beginning to change, but slowly

All Trans Women Are Overly Sexual - a side affect of the Predatory Trans Women trope (this is most likely linked to A Man Is Always Eager and the misconception trans women are men) as well as the fetishisation of trans women

All Trans Men Aren’t Sexual / Are Asexual - it’s an extension of the Delicate Trans Boy trope (most likely linked to the All Women Are Prudes (don’t want to or have interested in sex)) (FIM, there are asexual/non sexual trans men)

Trans Women As Sex Workers (link contain sensitive material) - the most common occupation for trans women in media is sex work, it’s heavily linked to the fetishisation of trans women and to Trans Folks As Victims

Easy Sex Change - the myth that transitioning is one quick surgery away when in reality it can take years, several surgeries, and HRT (assuming the person wants/can transition medically)

Trauma Made Me Trans - the idea that people are trans because of a trauma they’ve suffered, or because they didn’t get enough attention when they were young

My Parents Wanted A Boy/Girl So I Became One - when characters are trans because their parents wanted a kid of another gender and the character wanted to make them happy

“Trans” For Love - when a gay character pretends to be of another gender (sometimes even transitioning) so they can be openly affectionate/love their partner, or when a character pretends to be of another gender (sometimes even transitioning) so their love interest will be attracted to them. (if I’d seen this only once it would have been to many, but no, I’ve had to see it multiple times. do not.)

Love Heals Dysphoria - (the trans version of Love Heal All) It can help some people but doesn’t eradicate dysphoria (unfortunately)

Born In The Wrong Body (narrative) - I don’t have enough space here so here’s a short article explaining the problems with this and a quick quote for those who don’t want to read it “I am not trapped by my body. I am trapped by your beliefs. And I want to reclaim this body from those who want it to breathe and be fed by their dogmas”

Trans = No Body Confidence - when trans characters have absolutely no body or confidence in their appearance what so ever. This is often used with The Knowledgeable Ally and Love Heals Dysphoria, in this scenario the trans character is filled with self hate and lacks any kind of confidence what so ever until their cis friend decides to take pity on them and helps them over come all their confidence/trans related problems (in a very patronising way)

“Required” Medical Transition - the belief that trans people need to undergo surgery/surgeries and HRT in order to be trans or to be their gender. This and it’s problems are very heavily linked to Born In The Wrong Body and Cis Is Better. Here’s an article which covers this and a quick quote “mainstream discourse has viewed cis-gender embodiment as superior and ‘correct’ […] it is as if you are not done until your body looks like a cis-gender body!”

All About Trans - this is where the whole story is focused around being trans, sub-plots included (while there is a place for trans centric stories, there’s more to us and our lives than just being trans). Or when a trans characters whole narrative/development is centred on them being trans

Trans Folk Must (Want To) Adhere To Gender Rolls - no one must adhere to gender roles, trans folk aren’t exceptions

Old Friend, New Gender - while this trope seems innocent enough it’s often coupled with Trans = Gross / Trans Is Misleading. This is typically played out with a cis male who meets this strangely familiar super model looking women who he’s interested in, only to find out she used to be one of his old (”male”) friends. From here we go one of two ways, first the “omg she’s actually a man” repulsion where we’re supposed to find it funny/gross that he was attracted to trans women. And the second is where he has the same reaction but this time, it’s still played for jokes but, there’s a blatant message of acceptance/tolerance and he stops being attracted/interested to her but he accepts her as a women and as his old friend (this is typically handled terribly)

This is a fairly sizeable list, but by no means a comprehensive one.

Please do reblog and add trans/nb tropes and trends as well as links to lists by others!

If you have any questions or would like us to further elaborate on any of these tropes or any other trans/nb tropes, please send us an ask (when the ask box is open).

- Mod Emery

#anonymous #trans #tropes #long #mod emery #thanks mod Al for helping name tropes #rape mention

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premakalidasi · 6 years

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The Will, extreme nondual/immanentist practice, initiations, and responsibility. Amma, Shiva, Kali, the medicine of stillness, awareness, witnessing.

The difficult path of taking your life into your own hands, making your own judgements about what's valuable, using your own heart instead of blind dogma as your moral compass, the world as Scripture, being aware of all the tremendous power you have, and then truly manifesting the Divine as the Goddess you are--not just *saying* it but living it, whatever you want to call it, extreme “I Am That”, “Samsara is Nirvana,” “Do What Thou Wilt,” really walking the talk--

You know what that is?

It's fucking terrifying. That's what it is.

And if anyone tries to tell you otherwise, especially if they try and sell it as just sitting there peacefully with a smug and radiant smile--that’s not the entire story they’re telling you (or then they’re so out of touch with this world that you’re better off walking away from them very slowly). Or they’re of the sort that’s sitting there happily imagining everything’s an illusion and they’re smiling because they’re so high on that--on the opium of it all being a big play, a big joke (which is fair enough; I like Amma and she’s like that).

But you know what? Opium is a painkiller, and they’re milking their inner poppies exactly because deep inside,

it is all

still

frightening

fuck.

Even Amma’s charity work began from anger at being so appalled at human suffering. And Shiva himself, white as poppy milk, is a painkiller, and I will get to that a bit later. But let me digress here for a bit, since we mentioned self-initiations earlier.

You will be frightened when you realise your full power. Especially--since we were talking about initiations--after having had that power of yours affirmed by an external source, you know you can't pretend you’re an inexperienced idiot any more, can't run away from it all any more. Because when you self-initiate (which *is* legitimate, as is spontaneous enlightenment), it has its own problems. One of the biggest ones being this: exactly because of the “you’re a fraud” crap from outsiders, because of everyone outside of you thinking you’re not *quite* ready anyway, it *can* give you an excuse to fall back on that when the shit hits the fan. If you fuck up, you can lean back on that and lisp “ok, yeah, I guess I wasn’t ready for so-and-so after all. I guess even that big, epic enlightenment experience I had as a kid when staring at the sky, and that spiritual explosion I had that other time when I felt my pulse beating as one with the Earth’s, weren’t somehow enough. Maybe I really do not have enough skill yet.”

Which is bullshit. Those experiences don’t magically become less valid if you fuck up. Which we all do sometimes. You do have the power. It’s not gone anywhere. You’ve always been Divine.

But our minds *love* excuses, and one of the main reasons behind all these passage rites and initiations (hell, all rituals) is exactly because they hit your brain harder when things are made Official. The human brain loves symbols and rituals; animals have rituals. So we work with symbols and rituals because Ug the Cavewoman inside of us all really gets off on a big-ass bonfire. And rites of passage serve to tell you that you’re grown up, now; that it’s time to leave the previous stage of your life behind; to lay down that shit, completely forget about *that* shit, and take this shit, and that shit, and the upcoming shit over there seriously.

Initiation is a part of what teachers are all about: it’s an external person doing the same thing you *could* do yourself, but because they are good at it due to practice and knowledge, and because your funny monkey mind thinks that they’re Special (even though they are the part of the same goddamn Force), it will hit you harder. Just like legal documents are just ink and paper, but once you sign them, everyone’s forced to take them more seriously than had you just said those words out loud. And because we’re all parts of Nature, an initiation is ultimately Nature patting herself on the head: you only *feel* that it’s someone else placing her hand on your head and your funny little monkey mind is ripped open and goes “whoa.”

Funny, ain’t it?

And there are different initiations for different times. These are all different for everyone, depending on your spiritual makeup, personality, whatnot. Some great soul can just snap into Goddess mode just like that; the power just opens up and that’s it. They’re born with the hardware for that software upgrade. But more often than not, what you hear from quite a few interesting people, is that their journey has always been a mix of spontaneous enlightenment (self-initiation), visions, and then someone else giving them teachings, the world itself acting as their teacher once you’ve reached a certain point (it’s all a matter of opening your eyes to it--if Nature is your divinity instead of someone hard to reach high up on a cloud, removed from the world, it’s easy to tune in to that station and listen). There’s also truth to the old cliche that once the student is ready, the master will appear. But in the meantime, there’s no need for despair, because--and I repeat--the knowledge and the gurus and the wisdom are already within your reach, and you just need to open your mind to the possibility that there’s a teaching in everything.

But again, I digress. The point I wish to make here, in the middle of this crazy, crazy neo-conservative culture where people are obsessed with “authenticity” and initiations and authority (and I see a lot of you young people suffering because of it) is that it’s *not* a sign of your unworthiness if you can’t find a physical teacher, let alone afford the journey to see one in a different part of the world, or attend one of those godforsaken 750e ~weekend intensives~. It’s easy to talk about initiations when you live in fucking San Francisco or Boulder or New York or London, or a culture where there are mystics around every corner! But if one knows anything about the nature of the world (I don’t want to say “privilege,” but I am saying “privilege”), one also knows that great teachers don’t grow on trees. As someone who’s lived in very remote areas herself, in incredibly spiritually sparse cultures, I know the reality of how difficult it can be to find even fellow devotees, let alone great teachers. So if you’re living in Bumfuck, Novaya Zemlya, it’s going to be more difficult for you because you’re going to have to go the way of books (please, do read books, old books, pre-2000 books; the Internet is full of really, really poor-quality and watered-down and contaminated “information,”) and learning from friends and family and the world to get your learning and evolve as a person. But that doesn’t mean attaining (or, rather, rediscovering, re-linking yourself to the Divine) is not possible, and there have *always* been individuals who were great souls in the middle of nowhere. It’s just that they lived and died without the world knowing of them, because they lived in jungles, tundras, deserts.

Thankfully, in this day and age of the jet engine, there are amazing teachers who can travel the world (especially Amritanandamayi, to whom I’ll get in a bit, who has embraced 30+ million people and is doing it somewhere right now), but even then, it’s going to be difficult to find the right one. If you’re following a rarer path, especially a world-affirming and sex-positive path, these teachers may not even exist, and there are so many abusers out there in those paths that, especially if you’re female, it’ll actually be safer for you to not go near *any* of those guys. (But just because you have to do it on your own, that’s not an excuse for you to be an egotist, either--rather, it’s a burden, because it will make things even more difficult for you because you have to watch out even harder for your ego. Being different is a quick way to feeling you’re a special snowflake, a great adept who knows The True Way, and the shelves of esoteric bookstores are lined with masturbatory works by people like that.)

On the other hand, the right teacher may well exist, but you’re not ready for them yet. I wasn’t ready for Amma when I was an angry teenager rebelling against all organised religion and a cynical twentysomething who’d seen it all by then; I am still not a fan of the elements in her teachings that are aligned with mainstream Hinduism and I still don’t believe a 4-year-old dying in agony from leukemia deserved it because she cheated on her husband in a past life. But I did not know the level of her universalism, then--I did not know then that she didn’t care if I accepted that or not, but that what I *did* accept--my own path--was the most important thing, and that she would only tell me to dive deeper into that. When I first heard of her, I shrugged it off because I knew how most Hindu gurus, just like most Hindus in general, are pretty conservative and most certainly aren’t fans of Pagans or Tantrics (if that sounds contradictory to those of you who don’t know much about religion on that side of the world, extreme Tantrism is as anti-dogma and as far removed from conservative Hinduism as feminist witchcraft or Satanism are from fundamentalist Pentecostal Christianity. And the worst and most visible types of Tantrics are massive abusive, black-magic-fetishising, conceited, violent assholes way beyond what an American highschooler wanking over childish “left-hand” books can imagine, so Hindus have reasons to dislike them/us). Most Hinduism is focused on escaping the world and the cycle of birth and rebirth, not about venerating it all as the Goddess (only a small handful of Tantric/Bhakti cults and individuals do the latter, and their role is exaggerated in the West). But when I heard from one of her disciples that she had a temple to Kali in her ashram and had done extreme nondual sadhana herself and that she equated Nature with God and sounded like Ramakrishna more than any of the stuck-up gurus, and when I saw just how 100% affirmative she was about everyone being different and that being a *strength,* and how she did *not* force anyone to accept those mainstream Hindu (or any other) ideas about religion, and was--at her core--about only absolute, immanent love, having dedicated herself to supporting every goddamn soul on this planet and not judging them or even thinking about their “sins” but just affirming the divine spark in everyone--was I ready.

Now, Amma gives mantra initiation (mantra diksha) to each and every soul who asks. That’s pretty much the most accessible initiation from a spiritual master (and full-time 24/7 channel of the Goddess) one can get in the world right now. I can’t think of anyone else of that level who does it so universally for everyone on that kind of global scale, regardless of your religion, without imposing hers upon you--*you* choose the deity or the concept you want a mantra for (atheists have asked for a mantra for love or compassion, and so on). She doesn’t want to make you into a Hindu unless that’s your path; she wants to make you go deeper into your own faith/practice. The diksha itself will be over quickly and you’ll be pushed and shoved through the crowd, and it will probably feel like a downer, but you’re nevertheless walking away with a gem. The value of a mantra given by someone who really Gets It, on that Ramakrishna-but-female level of equal vision where she can kiss a leper’s wounds and initiate someone as antinomian and as erotic in her practice as yours truly without a shred of judgement but rather the message “well, go forth and do it *properly,*” can’t be overemphasised.

But, like I said before, there's no turning back after that, so ask yourself if you really *are* ready for that initiaton, whatever form it will take. A guru, or being ravished by a trickster god on the edge of sleep, anyone else. You don’t fuck around anymore after that. Perhaps you’re self-initiated and don’t fuck around either, so that’s good. But just know that whatever it ends up being for you, it will be a big-ass turning point and that even after that, fear is normal. Real initiation, when it happens, will be Huge. Perhaps you’ll only feel it as something subtle at first, but it will be Huge later, trust me.

[Amma being what she is, she half snuck it upon me--I should've realised that this was her way (with me) at mantra diksha already, when I'd asked for what I thought was a handy kitchen work knife and she gave me a fucking chainsaw instead. But it was only two years later, when she bestowed nama diksha (name initiation) upon me (and all kinds of other, unexpected things and life-changing things besides, that same moment, similar to the damned chainsaw thing) that I really had to come to terms with the fact that this was fucking *it.* I could not sit the fuck around any more; that’s why you have this blog. Decades of mostly private devotions were ripped open and even old and fucked-up poems written in the style of self-torturing bhaktas/Sufis wanting to be crushed by the Beloved, poems which I knew people would misinterpret, were poured out as acts of bhakti (but that's another post entirely; either on some spiritual masochism as an offering of one's neuroses to the gods or on how I will never understand how the Tumblr generation/culture can be so obtuse as to forever and always think the author=her works, I haven't decided yet). Besides, I thought I was dying by that point anyway, so I didn't have much time left for faffing about in any case. I suspect the clever bitch might also have given me some extra time on this planet as well, so that I could make the most of it in Kali's service--well, I *had* asked for her to help me become Kali’s instrument, just NOT ON THAT LEVEL, HOLY SHIT, WHAT THE FUCK--but that's how these things go with her and myself, it seems. Whether it’s just the hug, or a mantra, or a name, or an answer to a question, she gives you more than you ever think you deserve, and then some. She hugs you but she also punches open your heart if that’s what has to be done, delivers a mighty defibrillator-blast of energy to wake up your own heart-power like a goddamn volcano and then gives you That Look and a conspiratorial smile that's basically all "That's it, kid; you've got it. Now, don’t fuck it up.”]

That realisation, that unveiling of your own power is going to be a bomb going off, blasting you to bits and then glueing you back together with irradiated mutant powers.

And if you *don't* feel awed, afraid about it--if you don't feel "shitshitshit" about it on a regular basis--

--Then I'm afraid you are a narcissistic, egotistical, privileged git who hasn't experienced awareness more than halfway, if that. You are the spiritual equivalent of someone running around with scissors, but unaware that you are doing so. You need to go back. You need to dig into the 101. And only when you’ve shat yourself, can you come back.

True awareness, true power, true understanding of your Divine Self comes with a crushing, devastating responsibility that you feel you can't handle at times--and feeling this is a good sign, because this kind of feeling is not likely to happen without empathy. If you do have empathy, if you truly do understand just how intricately everything in this universe is interconnected and just how human delusions, idiocies and oppressions--especially self-inflicted oppressions--work, you will feel like absolute rubbish and helpless and small.

This is why so many yogis, so many intelligent empaths, so many hypersensitive people are so fucking angry all the time. It's not that they are crap at knowing the Self, crap at knowing Reality. It's that they are all *too* aware of it all, and it stinks.

But it’s what you do with that pain that is the enlightened part, the divine action, the divine embodiment. Awareness is the ignition, suffering is the fuel, your heart is where the combustion takes place, and your body/mind is the vehicle. It's that pain that impels you on, the whip at your back, the tack on the chair that makes you jump up and do something about it all. It is what makes you strive for the ecstasy of love all the harder, for establishing more of that love and that awareness in the world around you; it makes you work until exhaustion to make at least one little corner of this world less of a dark and miserable place.

In fact, you can say pain is the very catalyst of transcendence.

And by transcendence, I always mean the transcendence of human, societal idiocy and the suffering it's caused, not this beautiful world and embodied existence that is the Goddess. People have mistaken suffering, wounds and illness for the entirety of the world and the body for too long; they’ve mistaken human/societal crap for all there is; when in reality, we/the world are much more than that. Even physical pain and death are but opportunities for us to transcend them through analysing how we approach them, and how we could do that more fruitfully; how we could get something even out of these things to make the world less miserable a place. They're nothing but buttons that switch on the turbo mode for your capacity for intense empathy and compassion--for example, a temporary illness limiting your motor abilities making it easier for you to understand people with 24/7 limited mobility.

After you’ve understood that, there’s no excuse.

You have to, as they say, feel the fear and do it anyway.

***

This terror, too, is Kali. She cuts and smashes and chews and rips and tears and stomps away at everything until it's all a bloody, painful mess; but it's all ultimately in the service of liberation, of cleaning things up. She’s the doctor who lances the boil, the surgeon that cuts out the tumours. And at the end of that bloody stampede, the only way out of the pain and confusion that’s the battlefield of existence, the only way out of her drunken, righteous battle-rage is Shiva: pure consciousness, pure witnessing, pure Love offered, waiting for her to join her power with his stillness. In an extreme state of one-pointedness, become but Awareness--symbolised by the erect, ready linga pointing towards her--he awaits until she sits down upon him, lover into womb, babe onto breast, whichever version you prefer--and the world *snaps* back together again, the pieces fit together perfectly again, and there's but the Whole. Nature reels contented, beyond dualisms and permeated with the blissful peace of Awareness; her tongue--rajas, the active principle in the world; action, drive, passion--rolls out to point to her heart, the centre of All.

And it's that dance of chaos and destruction that is the human world, the world of society, and it's *supposed* to feel bloody terrifying if you have a heart; only Love-permeated pure Consciousness can ever anchor us within it, snap us out of it, too, to return us to the Whole. Only stillness, only calmness, only Love given with strength and integrity. Not a neurotic love or a possessive love or an overly self-sacrificing love, but a love that is about wholeness, about equalising, about balance. It’s only apt that it’s symbolised by the phallus because it’s far less vulnerable than the yoni, far more difficult to abuse and to hurt. It’s love that stands on its own, as it were, the Beloved given the freedom to do whatever She wishes with it, taking what she needs, at her own pace, in the way that satisfies her, without hurting herself or him. Revolutionary. In a world where the opposite is the default--women’s and other givers’ and carers’ bodies and souls being abused and exploited in the name of love--it’s an idea worth contemplating, realising, embodying in one’s thought and action. A love that stands on its own and gives without diminishing, without being enslaved, vampirised.

But you can only be that, you can only give that if you are Consciousness and if you are Still and a Witness to the craziness outside--when you start thrusting too hard into things, thinking you’re just trying to love (but are only really satisfying your own desire/ego/dick), you’ll end up hurting the recipient and that’ll trigger a cycle of pain that will end up hurting you too. Only if you can contain yourself, *then* will the energy sit down with you peacefully. And together, now a balanced whole, can you get to work. Only that stillness, only that patience, only that witnessing is the opium that enables even the cripple to walk--Kali the doctor, Shiva the medicine both working hand in hand, linga in yoni, soul in body, consciousness in matter.

***

So, it's not about being not terrified. It's not about never feeling crazy, weak. It's about knowing all that and going ahead anyway because you've got work to do.

There are enlightened, supremely intelligent beings out there who are, in some part of their seemingly serene bodies, absolutely fucking *shitting* themselves and screaming with fear, and/or running amok, absolutely batshit crazy; but it's just that they hold on to the consciousness, the anchor, identify with the Shiva principle so tightly that they seem calm. They may even be in great pain, but the pain is but fuel for them and drives them ever onwards, even with gritted teeth and bloodied feet.

And that's the vast majority of what they call enlightened existence. Not necessarily a state of being permanently blissed out, but one permanent internal scream of

--AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA--

--and going forth into the world anyway.

#fear #shiva #kali #initiation #nondualism #amma #amritanandamayi #advaita #i guess i am doing sermons now #immanence #tantra #prema kalidasi #sermons

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Subject Fail

by Wardog

Tuesday, 02 February 2010

Wardog is utterly horrified by the Subject Zero in Mass Effect II~

In case all the squeeing in the playpen hasn’t made it clear, I’m currently playing Mass Effect II – one of my favourite RPGs of all time, not least of all because it has

a genuinely functional morality system,

for once. Mass Effect II takes everything that was even slightly imperfect about Mass Effect I (and there were some issues, believe me – not least of all the cumbersome rumbling around barren planets in the crappy mako) and either polishes it until it shines or throws it out the window. Whoring for renegade and paragon points so you can use your charm / intimidate skills is no longer necessary, and finally they’ve noticed that picking the neutral option shouldn’t be a bum deal, so you actually get a scattering of both renegade and paragon points for charting a course between doormatty sainthood and shooting people in the face. With the result that Mass Effect IIis a little piece of awesome, and I love it passionately.

As much as I enjoyed Dragon Age, I genuinely (and probably heretically) believe that Mass Effect is by far the superior game. By giving you an already established character, Shepard, and the freedom to develop his/her attitude as you wish, it avoids all the problems Dan articulates in

this

article on Dragon Age. I think embracing linearity, as opposed to serving up a poor semblance of freedom, makes for a deeper story and, paradoxically, a more personalised experience. In short, I'd much rather be Shepard within a story constructed all around me, than Second Dwarf Commoner From The Left.

Spoilers incoming.

There's only one fly in my Mass Effect ointment, and that's the character of Subject Zero. Seriously, Bioware, what were you thinking?! To be fair, Mass Effect has always been

a bit dodgy

with its gender politics. But, despite being wet as a rice paddy during a Monsoon (and not in a good way) and the weird virginity fetishisation undertone, Liara did make a decent partner for my Shepard, soothing my renegade inclinations with her tentacles...err...I mean gentle ideals. But Subject Zero goes beyond “hmmm, you were a bit clueless, weren't you?” and into “ye gods, what is wrong with you?”

Before the game came out, there were a couple of trailers to build up excitement and anticipation about the Subject Zero character. Click

here

for the first one. Trying too hard, much? Good grief, she swears! She has tattoos. And a shaved head! How freaky! How alternative! How badass! My tiny mind is blown. Now putting aside the fact she looks, and talks, like your typical Ox Goth, which is off-putting to say the least, this is pretty cringe-worthy but not so out of the usual realm of cringe-worthy wankfantasy videogame characters that I did more than roll my eyes and sigh. It is, however, generally annoying that for a woman to be a badass she also has to be broken (“turns out, mess with someone’s head enough and you can turn a scared kid into an all-powerful bitch"). Healthy women, y’see, wouldn't be getting tattoos and firing guns, oh no, they'd be, I don't know, doing healthy things like sewing or getting married.

Then came the second trailer (which you can see

here

). It's still annoying but it's less “wow, we have a terrible attitude towards women” annoying, and she shows some depth and complexity beyond the over-sexed, broken badass model of the first trailer. Well, at least she does if you’re feeling mildly generous about it.

Part of the problem with the trailers, I think, is the lack of awareness – there seems to be no understanding of how far are we meant to buy Subject Zero's rhetoric, how far she buys it herself, and to what extent it is rhetoric. I like the second trailer more than the first because she seems genuinely psychotic and dangerous – which puts her on par with most of the rest of the cast - as opposed to the first trailer which depicts her as somebody ultimately fearful and pretending. Is she a victim or a badass, or a victim AND a badass, and if the latter how far, and in what ways, are they connected?

And then there's the game itself, where it all goes to shit.

You recruit Subject Zero (or Jack as she is known – which I think is quite cool) from a penal colony called Purgatory as part of the formation of your personal Dirty Dozen. She was sold, as a child, to a dodgy medical facility who tortured her, and a bunch of other kids, in order to increase their biotic abilities. Eventually, Jack managed to kill her way to freedom – causing chaos throughout the galaxy until her arrest. As part of her “gain her loyalty” quest, you take her back to the remains of the facility because … y'know … she's a woman, so she needs closure, or some other touchy feely girly crap. Again, the quest as a whole straddles the border between interesting and annoying. It’s interesting because there’s a brief moment in which the writers seem to be doing something slightly original with Subject Zero - she learns that other children were being abused even worse than she was in order to protect her, and make sure the biotic-enhancement experiments wouldn't kill her. This would genuinely be an intriguing development for someone who, rather self-indulgently and self-destructively, has always perceived herself as a victim. But the game promptly brushes this under the carpet, and instead presents you with the usual “you're a killer, Jack, get used to it” versus “but you have to let go of your past so it no longer controls you” moral dilemma. Yawn. And ultimately what you have here is a sequence which does nothing but prove how completely dominated Subject Zero is by the terrible things that were done to her when she was a kid – so much so that it makes much of her subsequent life of badassery a complete lie.

Of course, it’s perfectly realistic that somebody would, in fact, be completely dominated by the terrible things that happened to them as a child. People are. BUT the game isn’t trying to engage with the far reaching effects of child abuse. It’s offering up the worst kind of male fantasy there is – that of the woman who seems totally strong, but is secretly a broken flower who desperately needs a man to save her. All the characters you recruit to your Suicide Squad are, to a degree, dangerous and fucked up but - even the dying assassin who was trained to be one from the age of six or the scientist who worked on a virus to control an entire alien virus or the dude grown in a tank by a crazy frog alien – no matter how much guilt and remorse they feel, they ultimately own their past, their decisions and their badassery.

Not so Subject Zero. What powers she has were given to her by the people who experimented on her. And all the bad shit she did in her life was not truly her choice, and not something for which she can be held accountable, because she was impelled to it by the damage done to her. (Again, check out Dan’s article

The Victim Dilemma

for more on this) What you’re left with is a completely unthreatening female pseudo-badass.

This is all bad enough but it’s when you start to get into the sexual side of things that you move from cluelessly offensive, and into really really fucking disgustingly offensive. I will admit Subject Zero is kind of hot, and, again, it’s potentially a good thing to have an attractive female character who isn’t conventionally feminine in appearance – although, again, it’s all trying slightly too hard for it to really be effective. And I do kind of wish she’d put a proper shirt on. Having your nipples hanging out is dangerous if you're encountering regular cross fire. Anyway, you can bone Subject Zero in two ways... so to speak, but only if you're a man. Despite having done girls in her past, because it’s a turn on for the male gamer, I suspect, she doesn’t do girls now – because, y’know, bulldykes just aren’t a turn on for the male gamer. And although it’s perfectly reasonable for Subject Zero not to be an equal opportunities bonee in principle, in practice it means she’s still further defined by her status as a male fantasy.

The 'renegade' way is to get it on with Subject Zero is to shaft her against a bulkhead

as soon as the opportunity arises

– she will then discard you because you've proven yourself just another using manslut. The disturbing implication of this is, therefore, that Subject Zero doesn’t actually like sex – otherwise she’d be perfectly happy to keep fucking you, in this cheerful, no strings attached way. Again, although it’s perfectly reasonable that someone with a history of abuse might not enjoy sex and use it as a form of self-harm, the game isn’t actually engaging with this. Subject Zero’s promiscuity, like her badassery, is just another lie because the game simply can’t get its head round the notion that a woman could enjoy casual sex.

The paragon way is to pursue a relationship with her, whereupon she comes to your cabin aaaand

check this shit out

, and try not barf.

Ye Gods. I know the romances in Mass Effect are there to pander to our fantasies (mine just happens to be Garrus Vakarian all the way) but this is absolutely the most destructive and repulsive male fantasy there is. The supposedly 'strong' woman who is actually broken and helpless and just needs a male shoulder to cry on. Because, yes, a woman who weeps while you stick it to her is a real turn on. Don't get me wrong, I understand this fantasy. We all want to save women, especially from the cruelty of other men (see

nice guy syndrome

) but at least I'm self-aware enough to acknowledge it has absolutely nothing to do with women, and is incredibly, unspeakably unhealthy.

Also, just look at the way this scene is animated. You have Subject Zero (not so badass now, eh?) trembling, weeping and wordless, acknowledging that Shepard has a deeper understanding of her needs than she does, admitting tacitly that the person she has become is little more than a façade for her truly vulnerable, properly feminine self. And then she lies down, passive and submissive, her arms stretched over her head while Shepard heals her with his mighty mancock.

Eeeeew!!!

(Just as contrast, do check out

the consummation scene with Miranda

, one of the other female options. I think video-game sex scenes tend to look a bit ridiculous, as the animation isn’t quite up to it, but this is quite fun and sexy. They power dynamic is balanced, Miranda is clearly an active and willing participant, and there’s nothing freakier going on than two healthy, consenting, adult human beings having a good time together).

But Subject Zero isn't a person at all – she was created by the men at the facility, broken by those same men, used by men across the galaxy and ultimately healed again by a man. And by the looks of it, she still doesn't even seem to like sex. In short, they've created a character whose sole purpose in the game is to make men feel good about themselves, without actually threatening or challenging them in any way. What’s hotter than a female badass? A female badass who isn’t actually a badass. What’s hotter than a highly sexed woman? A woman who isn’t actually highly sexed. What’s better than a strong woman? A vulnerable woman who needs a man to hold her. It sickens me. It actually sickens me.

I can take the sexual fantasies romance options in games seem to be offering, but the emotional ones – especially when they invoke the most repulsive aspects of Nice Guy Syndrome – have gone beyond disturbing.

Themes:

Computer Games

Sci-fi / Fantasy

Minority Warrior

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Arthur B

at 13:22 on 2010-02-02Awesome rant. But are you really being a Minority Warrior if you're a woman complaining about a game's portrayal of women? I thought the point of MWing was to leap to the defence of a group you're not actually a member of against the vile iniquities of your own demographic...

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Wardog

at 14:21 on 2010-02-02Arthur, are you saying I can't be a Minority Warrior because I'm a woman?!

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Arthur B

at 14:36 on 2010-02-02I'm saying that, if the defining trait of a Minority Warrior is speaking on behalf of demographics you don't belong to, then you can't be a Minority Warrior whilst speaking for your own demographic. :)

On the other hand, my Minority Warrior instincts say that anyone who self-defines as a Minority Warrior should be recognised as one.

But now I've ended up being a Minority Warrior talking on behalf of Minority Warriors, so I can't be a Minority Warrior, so then I must be because I'm talking on behalf of them, but I can't be because I am one, but I can't be because I'm talking on behalf of them, but I can't be because I am one, but I can't be because I'm talking on behalf of them, but I can't be because I am one, but I can't be because I'm talking on behalf of them, but I can't be because I am one, but I can't be because I'm talking on behalf of them, but I can't be...

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http://webcomcon.blogspot.com/

at 17:28 on 2010-02-02Hi guys, first time posting on FerretBrain! I love your articles.

Anyway, I just beat Mass Effect 2 for the first time not long ago, and did in fact pursue the romance with Subject Zero. Looking back, there's really no way to view Jack than the typical Whedonchick, the super badass killer who was secretly traumatized and needs a good man to keep her up. Compare Jack with River.

There's also the comparisons between Jack and Kaiden, from ME1. Kaiden wasn't around in my ME2 save, but in retrospect they've got a bit of a similar backstory. Both were traumatized at a biotics training facility, Jack more than Kaiden, and both ended up killing to get away, Jack more than Kaiden. I'm not sure how much I can say about their comparison other than to note that nobody seemed to like Kaiden at all, although that may have been because his VA was the dude who voiced Carth Onasi.

I'm inclined to cut BioWare some slack for this, since it seems that literally every other female in Mass Effect is pretty much independent, proactive, and self-defined. The other party members in ME2 definitely are: Tali, Miranda, and Samara are all achievers with independent goals who have had tons of success without needing to deal with Shepard. To an extent, Tali and Miranda are defined by being their father's daughters (Miranda much more so than Tali, who is a pretty independently active woman), but they still do tons of stuff on their own, of their own volition. There's also Liara, who is happily the head of her own intelligence agency, doing things for her own reasons. Ashley, these days promoted to high command and the overseer of the entire military branch of a colony.

Even the secondary characters tend to fare pretty well: Emily Wong, Nassana Dantius, Shai'ara, the leader of the crime syndicate you meet in the Presidium in ME1, Matriarch Benezia (who, despite being mindraped by Sovereign, deliberately chose to infiltrate Saren's army and knew the risks that she would end up being indoctrinated; she wasn't just some random chick that Sovereign subjugated because puppet shows, hot)... Generally the women in Mass Effect tend to be pretty strong and very rarely defined as "someone's sister" or "someone's wife" (cf. Warcraft). There is the doctor from ME1, a somewhat archaic Damsel In Distress, but still. Most of the women in the game who get screentime tend to be pretty well-presented.

(Unless this entire analysis has just been my phallocentric manocratic thinking convincing me that the legions of sexual playthings paraded before me in a tentacular orgasmic rape simulator are actually fairly independent, well-characterized women. The curse of a minority warrior!)

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https://me.yahoo.com/a/2Yqe00sizOcIYBx41yITkDVVKJA_7g--#6c7d4

at 22:36 on 2010-02-02Is it just me or did they base Jack on the character of the same name from Chronicles of Riddick?? Even how the game unfolds during the mission on Purgatory, parallels Riddick and Jack's escape from "Crematoria" (prison colony/world).

Your interpretation of Jack reminds me of one of the quotes from Bioware's other character, "Morrigan", from their recent game "Dragon Age: Origins":

"Men are always ready to believe two things about a woman - that she is weak and that she finds him attractive."

Your fixation on gender is rather telling. I could care less that a man "heals" or "saves" Jack, or if a woman does. The paragon scene between them is about love. Love requires you to compromise pride and ego to attain something greater than yourself. What I see are two people engaged in a tender and emotional moment.

I could care less about lust or casual sex. And speaking of strong women, it takes a strong woman to truly give herself completely to intimacy, and the same of course is required of the man, to have a truly loving relationship. Even the word "relationship" implies "more than yourself". Casual sex is entirely selfish, and the preference of the weak willed.

On the contrary I believe it's a testament to Jack strength of will and character, to be so intimate with Shepard, after all she has been through. She's learned (and said in some of the dialogue) that people only act out of selfish concerns, and are not to be trusted.

But then it seems believable given the person Shepard proves himself to be (through paragon actions) and that he is an exceptional individual; peerless... saving the galaxy more than once.

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Wardog

at 23:06 on 2010-02-02@ Webcomcon, hello and welcome to Fb. Thank you for the comment. I suspect Kaiden was universally disliked because he was a whiny bitch and, honestly, game mechanically rubbish - it's amazing how much being a strong addition to your party can make you inclined to really dig someone. I actually liked Carth very much though - and have nothing against the VA.

I will agree that Bioware have done better with the other women in the game - I like Miranda, I adore Tali ... and, well, Samara is a big breasted dominatrix but at least she's not weak. Also from a character rather gendered perspective, I didn't quite *buy* Liara's shift from naive sheltered scientist to cold hard information broker.

I think what bugs me about Subject Zero is the lack of self-awareness in the portrayal - I genuinely believe it's a distasteful fantasy to indulge. Also the fact that it's tied into the morality system is just plain creepy - it's 'renegade' to have sex with a woman when she offers it, but 'paragon' to bone her while she weeps? EEEWWW! EWWWWW! EWWWW!! I think it plays into the idea tha sex is something women give to me to reward them ... rather than something that women want, and can enjoy, on their own terms.

Hello, err, me.yahoo.com/a/2Yqe00sizOcIYBx41yITkDVVKJA_7g--#6c7d4.

Your fixation on gender is rather telling

Telling in what way?

Love requires you to compromise pride and ego to attain something greater than yourself.

Like fuck it does.

What I see are two people engaged in a tender and emotional moment.

Really? Because what I see is a repulsive borderline misogynistic rape fantasy. If a woman started crying when I fucked her, I'd stop. I certainly wouldn't find it some kind of turn on.

And speaking of strong women, it takes a strong woman to truly give herself completely to intimacy, and the same of course is required of the man, to have a truly loving relationship.

And what, precisely, is Shepard giving up or compromising in this scene? It opens with her telling him he was right about everything. Also yours is a rather heterocentric depication of an ideal relationship isn't it?

Casual sex is entirely selfish, and the preference of the weak willed.

And arbitrary judgements are the refuge of the morally and intellectually cowardly.

But then it seems believable given the person Shepard proves himself to be (through paragon actions) and that he is an exceptional individual; peerless... saving the galaxy more than once.

Yes, heaven forefend she actually experience sexual desire.

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at 00:06 on 2010-02-03It's a Randian anti-feminist ideal. The greatest possible exemplar of humanity is the powerful male; the greatest possible exemplar of FEMININITY is a woman who willfully "romantically surrenders" to such a man. Indeed, rape is actually the most legitimate form possible of love, because it's the most authentic representation of man's intrinsic superiority.

Another woman who comes off pretty well: Aria T'loak. Forgot her the first time around.

If I have any interest in Subject Zero, it's because I deliberately mis-read the character and imagine that she really IS coming to the realization that she actually WASN'T the worst off at the Cerberus facility and that most of her misery IS self-inflicted. It's a character arc where she finally realizes that the most destructive thing in her life has been her own refusal to engage with other people relationally, and Shepard finally helps her realize that. It's ba-a-arely suggested by the actual text of ME2.

====

Since I can't reply to the Playpen, mind if I may a few comments on that GamaSutra article? I think it's rather accurate, personally. I'm also of the belief that a more complex game is not necessarily a more interesting game or (most crucially) a more fun game. With Mass Effect, most of its complexity came in the form of rubbish loot that the game vomited up continuously, which was impossible to manage with its complex inventory. The secondary source of complexity was the gigantic skill trees each character had.

There are definitely two options: Refine the systems so that they're complex AND ENTERTAINING, or discard the systems so that you're left with the good stuff you had before. Personally, since I have no interest whatsoever in managing inventory, I'm glad they chucked the "here, receive eight billion copies of the Kolyat VII Sniper Rifle! try to find time to sell all the gear you'll never bother to equip!" system. It might have been interesting to see it upgraded into something Borderlands-esque, but meh.

I'm ambivalent on the reduced complexity in the skill trees. One benefit to the simplified skill trees is that different characters, even ones with the same specialty, are pretty distinct mechanically. Jack in combat doesn't really play like Samara, and Zaeed and Jacob are pretty distinct too. Unlike in ME1, where a Soldier Shepard and Ashley were basically identical, except Shepard was always better because she got more skill points. On the other hand, having tons of options to build your character is neat.

I play more shooters than WRPGs anyway. I really appreciated ME2's refined cover system. It feels infinitely more natural and useful than ME1's, although it's still not as good as the cover in Gears or Uncharted.

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Wardog

at 09:38 on 2010-02-03

It's a Randian anti-feminist ideal

Oh God, it's been such a long time since I've looked at / thought about Rand, but, yes, you're right. There's a kind of romantic re-interpretation of this you can find in early romance novels, when female sexual desire was still something borderline inexpressible. You get a lot of psuedo-rape, awakening to true self yadda yadda stuff, but mainly as a cover so the heroine can get her rocks off without feeling guilty about it.

Another woman who comes off pretty well: Aria T'loak.

Oh, yes, she's awesome. It was really nice to see an Asari not being a nameless merc, lapdancer or a touchy-feely sex counsellor for once. Also I should probably emphasise I don't - in general - have an issue with the portrayal of women in ME. Just Subject Zero; and I was initally quite interested in the character myself because, although there was that 'trying too hard' air about her, I did quite like her, because she was hot, direct and well voice-acted. I thought the visit to her facility very nearly came off well - but then the whole thing degenerated into ICK.

With ref to the Gamasutra article - I think the issue is that a lot of the things ME II has discarded are considered endemic to the cRPG format/genre. I entirely agree with you about inventory mangaement - I want to play the game I've bought, not some tedious tetris-alike whereby I'm juggling resources from one box to another as efficiently as possible. But I think for a lot of people having an inventory that needs managing is as much a part of a cRPG as sprawling skill trees or having to visit a merchant every 10 minutes to offload your crap.

For me, I think a good computer games makes you feel like what you're suppoesd to be. I liked the pared down approach of MEII because all the stuff that made me feel I was playing a computer game (fucking inventory management) has gone and all the stuff that makes me feel like a bad ass sci-fi chick has been amped up. But I think the Gamasutra is right - because of this, it's genuinely debatable whether MEII is an RPG any more.

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Arthur B

at 10:04 on 2010-02-03The inventory management thing is especially odd when, as far as I'm aware, nobody really considers encumbrance rules, which would be their equivalent in tabletop RPGs, to be a necessary or vital component of a tabletop RPG system; I'm aware of several which don't have such a thing.

To be fair, with traditional RPGs you really ought to be able to rely on the participants not abusing this and having their characters running around carrying an obscene amount of kit. But on the other hand, JRPGs quietly gave characters inventories of nigh-unlimited size a long time ago. And I suspect some CRPG inventory systems were developed mainly to keep the size of saved games down, rather than being based on any real consideration of how much characters could actually carry... and have been retained, long past the point where save game size really matters (or at least, past the point where what's in your inventory is going to take up more than a tiny fraction of your saved game).

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at 15:00 on 2010-02-03Base-building and resource management is endemic to the RTS format, and grinding is endemic to the MMO format. While I'm not going to say with absolute certainty that those things are always lame (I've had fun building bases in Earth 2150), I am generally grateful when you get games that pare away that bullshit and give you something actually interesting.

And I suspect some CRPG inventory systems were developed mainly to keep the size of saved games down, rather than being based on any real consideration of how much characters could actually carry

Makes sense, especially when you look at the pencil-and-paper parallels. One obvious difference you have to consider when drawing analogies between CRPGs and tabletop RPGs is the absence of a GM. In Dungeons and Dragons, the dungeon master can just say "knock it off, you moron, you can't carry the entire contents of the dungeon with you" without needing any explicit rules about how you can only carry one hundred and forty pounds per point of Strength modifier.

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Melissa G.

at 15:09 on 2010-02-03I think it would be awesome if instead of a message popping up saying, "You can't carry any more in your backpack", the game message did say, "Knock if off, moron, you can't carry the entire contents of the dungeon with you". Perhaps followed with a "Greedy bastard. Isn't it bad enough that you're robbing corpses!" :-)

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Jamie Johnston

at 21:48 on 2010-02-03

Arthur, are you saying I can't be a Minority Warrior because I'm a woman?!

In the immortal words of Eric Idle,

'Don't you oppress me!'

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at 19:03 on 2010-02-04Some responses to the ME2 article Kyra posted:

Most of the actual criticisms seem fair enough. It would be nice if the levels weren't so clearly delineated between "combat area" and "walking-through area". It would be nice if the mission structure were changed up a bit. His suggestions generally seem reasonable.

Then he gets to the actual analysis, and it's like "This game basically blows and I can't believe anyone is dumb enough to like it, GOOD JOB bioware for blinding all the sheeple and dumbing down your game." Seems like he, too, is happily trumping up a game for the sake of an extreme byline.

It would also be really nice if people could criticize games without calling it "dumbed down". It's been part of the descriptive vocabulary for Deus Ex 2, Mass Effect 2, Modern Warfare 2, Bioshock, and really virtually any game that's gone from a PC background onto a console. Even in the case of Mass Effect, that started life on a console. Even if I buy into the idea that a more complex and difficult game is necessarily a better one, the overtly hostile elitism is incredibly distasteful.

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Rude Cyrus

at 19:38 on 2010-02-04I’m really enjoying Mass Effect 2 so far, and I agree with Kyra’s criticisms. Jack always rubbed me the wrong way, perhaps because she came off as dangerously psychotic, as opposed to, say, Grunt, who was merely antisocial. As creepy as the scene between Shepard and Jack was, I’m not sure you can call it a sex scene, considering they kept their clothes on the entire time. :P

Anyway, my new favorite character has to be Mordin: he initially comes off as a mad scientist-type, but he’s actually quite nuanced. One of the stranger (and more hilarious) moments of the game comes when he makes an offhand remark about singing in a Gilbert and Sullivan opera. When you ask about this, he launches into the Mass Effect version of the Major General song. When it was finished, I sat there for about 12 minutes and muttered “what the fuck” over and over.

As for the article posted in the Playpen -- yeah, I don’t like it, but I’d like to address one of the criticisms: in the “Bring Down the Sky” DLC for the first game, there’s an instance where the aliens do speak their own language, and a codex entry informs us that languages are translated via a subdermal implant, or something like that.

Oh, and I agree that the Paragon/Renegade choices are much smoother.

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at 19:42 on 2010-02-04Mordin is great. I was totally fascinated by his personal attempts to wrestle with the morality of the genophage. Plus he's just fun to listen to.

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Wardog

at 21:17 on 2010-02-04Mordin is fantastic - I'm looking forward to his operatic interlude.

Which reminds me. Amused: did you see the advert for all-Elcor Hamlet?

Garrus is still my homie though. I have no idea what the magic is but he's my favourite video game character ever. Possibly it's the buddy cop movie feel, or his voice acting, or the fact I can now I get it on with him (neither of us crying) but, yeah, Garrus for President!

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Rude Cyrus

at 22:03 on 2010-02-04The game also has, I think, a single example of an actual female krogan. It's easy to miss, but I was still floored.

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Wardog

at 09:31 on 2010-02-05Zomg! WHERE?!!

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Rude Cyrus

at 20:49 on 2010-02-05On Tuchanka, in the shaman's room, is a krogan named Natorth. She talks about being an envoy to the female clans and basically threatens you every time you prompt her. Like I said, easy to miss.

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at 22:24 on 2010-02-05

..there seems to be no understanding of how far are we meant to buy Subject Zero's rhetoric, how far she buys it herself, and to what extent it is rhetoric. I like the second trailer more than the first because she seems genuinely psychotic and dangerous – which puts her on par with most of the rest of the cast - as opposed to the first trailer which depicts her as somebody ultimately fearful and pretending.

The fact that she has killed many people and has no reservation of killing, completely disproves any notion that her killer persona is a pretense. Who cares why she kills, she does, and that alone makes her dangerous and worthy of respect.

I can understand that you don't like her character, but don't try and belittle her. You'd just be underestimating her and that would get you killed. (If she was a real person..since we're comparing her to a real person)

I finally played through the game as male Shepard, so I've seen a different side of Jack (initially I finished the game as the female Shepard).

Maybe the one thing you and others are forgetting is that Shepard is a peerless warrior and leader. Savior of the galaxy, more than once. It only makes sense that Jack would have more respect for him than any other person in her life. And ultimately fall in love. I also imagine she views him as non-threatening, which fosters her attraction to him.

I will concede that I was surprised in

how

she falls in love with Shepard. I suppose for the sake of brevity in the game, the entire process happens in a few scenes. She opens up to him far too quickly.

..but this is absolutely the most destructive and repulsive male fantasy there is. The supposedly 'strong' woman who is actually broken and helpless and just needs a male shoulder to cry on. Because, yes, a woman who weeps while you stick it to her is a real turn on. Don't get me wrong, I understand this fantasy. We all want to save women, especially from the cruelty of other men (see nice guy syndrome) but at least I'm self-aware enough to acknowledge it has absolutely nothing to do with women, and is incredibly, unspeakably unhealthy.

I could care less about what fantasies people have. It's when you allow fantasies to negatively affect/interfere with your life, is when it becomes problematic.

Also, when it comes to saving women or being protective of them, I think it has more to do with a subconscious (and irrational) perception of women as our daughters. Which would explain why men often perceive women as weak. The protective feeling also has no sexual motivation, at least for me, which also corroborates that theory. Weakness in a woman provokes a feeling of tenderness from me, as I see it as an opportunity to show kindness.

Oh and, I never saw her weeping when they were kissing. She only teared up once, initially, after speaking to Shepard. And I can't imagine they were having intercourse either, with their clothes on. Forgive me for saying but that seems like an odd inference. Maybe I'm old fashioned but in that situation, and just in general, I expect a little more foreplay involved before sexual intercourse.

The 'renegade' way is to get it on with Subject Zero is to shaft her against a bulkhead as soon as the opportunity arises – she will then discard you because you've proven yourself just another using manslut. The disturbing implication of this is, therefore, that Subject Zero doesn’t actually like sex – otherwise she’d be perfectly happy to keep fucking you, in this cheerful, no strings attached way.

Or maybe she hoped for more from him and was disappointed. And maybe she feels that as much as she could use him for sex, he would also be using her, which that renegade action made abundantly clear. It also says a lot about what Shepard thinks of her, if he is more concerned with screwing her body than getting to know the person standing in front of him. Maybe she realizes this insult, consciously or not, and feels compelled to deny him the pleasure of sex even if it means not gratifying herself.

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at 22:38 on 2010-02-05The paragon romance scene also goes to show that you never truly know someone. Often people keep their true feelings and their true self hidden. Until they meet the right person(s).

I also don't consider what happened between them to define Jack. It's a far stretch to say that one moment contradicts everything she has done in her life, or who she is.

I wouldn't consider a misanthrope, who found one person worthy of trust and respect, to immediately find all people worthy of some trust and respect. Jack is still the same killer, but as I hinted at before, compromise is intrinsic to love. I think she would always remain distrusting and hostile to people, unless in conflict with their relationship (such as Shepard's friends). I think this is just her fundamental nature, and some things a person can never change about themselves.

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Arthur B

at 22:48 on 2010-02-05

Who cares why she kills, she does, and that alone makes her dangerous and worthy of respect.

Because if you're a killer, you can't also be wracked with doubt and fear.

Also, when it comes to saving women or being protective of them, I think it has more to do with a subconscious (and irrational) perception of women as our daughters.

Because being paternalistic is so much better than being horny.

Maybe she realizes this insult, consciously or not, and feels compelled to deny him the pleasure of sex even if it means not gratifying herself.

Because women are the gatekeepers of sex who ration it out to men if they feel that the men are deserving.

Wow.

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Wardog

at 23:52 on 2010-02-05

(If she was a real person..since we're comparing her to a real person)

I'm not, I'm analysing her, and what her character implies, as a literary construct.

I could care less about what fantasies people have. It's when you allow fantasies to negatively affect/interfere with your life, is when it becomes problematic.

I refer you to your own comment here: "Weakness in a woman provokes a feeling of tenderness from me, as I see it as an opportunity to show kindness." It's kind of sad you need women to show 'weakness' in order to be kind to them; and that you need to use the vulnerability of others to make yourself feel better.

nd I can't imagine they were having intercourse either, with their clothes on. Forgive me for saying but that seems like an odd inference. Maybe I'm old fashioned but in that situation, and just in general, I expect a little more foreplay involved before sexual intercourse.

Err, lies on top of her, begins kissing her face and neck - and then it fades to black. I think that indicates forthcoming sexoring.

Again, this is entirely based on the notion that bad men want sex whereas woman want "something more." There's nothing inherently wrong with wanting physical gratification - it's not "an insult" between two consenting adults. Sex is not something men want and women give - it's an act of mutuality, whether it is based on desire or desire and love.

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Rami

at 06:16 on 2010-02-06

I don't know about you, but the idea of a dude who is so awesome that women's brains melt into loving submission around him sounds like a pretty dysfunctional portrayal of women in general. Worship != Love, y'know.

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Arthur B

at 14:28 on 2010-02-06Even if we take a very generous reading of me.yahoo.com's statement and interpret it as meaning that through his example Shepard inspires respect and loyalty in his/her allies (which isn't completely out there), there's still a

major

difference between respect and love. Love requires respect if it's going to function. But respect does not inevitably lead to love. People don't exist on a relationship continuum from "hatred" to "bonking".

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Jamie Johnston

at 21:35 on 2010-02-06Another indication (if we need another) that there's a categorical difference is that it's generally considered possible and healthy to admire and respect people you've never met, whereas (romantically) loving someone you've never met would be widely regarded as unhealthy or impossible.

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http://ibmiller.livejournal.com/

at 16:15 on 2010-02-07Sorry, random thought, but James Cameron's The Terminator seems built around the idea that loving someone you've never met it totally awesome. But then, I thought the first Terminator was really, really, um, dumb.

Now, admittedly, I am on rather a different ideological spectrum when it comes to gender issues than most of fb (e.g. I like Twilight, though not uncritically). Just want to say that before I comment further, so there's no confusion.

However, I really like the paragon romance with Jack (though I'm not sure I'd really want to play it - I like Tali more). While I see some of the problems of the victim syndrome, I'm not sure if it's necessarily a misogynistic impulse. I'm not really seeing how Jack (who is basically a bald River Tam, without the schizophrenia) learning to love is that different from, say, Katsa from Graceling (ducks). Both are extremely good at killing, both learn to open up emotionally, and both do so to men.

I'm not sure how I regard the idea that the tears are supposed to be a turn on. I don't think that's my reaction to them, as I saw them more as Jack finally trusting someone else instead of humiliation. However, I do see how loathsome and utterly vile nice guy syndrome is. I'm just not sure that this situation really fits that category.

Finally, I think that the Miranda scene is rather stupid - but then, I think Miranda is really, really annoying. I much prefer Tali or (from the first game) Ashley (though I could see how the latter is also open to similar charges, as her whole "I never felt good enough" backstory seems similar to the elements of Jack's backstory found objectionable).

(Side note: where I hang out, there's actually huge numbers of people who liked Kaiden - most of whom also liked Carth. Most of them are 30-40 year old female gamers, I think. Clarifying statement: I hope that my classification of those who like Carth doesn't dig me deeper in the hole I've no doubt I'm already in. I'm afraid it does, though. Nuts. Addendum: I really hope I don't come across quite as a completely arrogant idiot.)

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at 16:30 on 2010-02-07Hmmm, sorry for double posting, but I should clarify - my purpose in commenting is not that I have an axe to grind, but that I'm genuinely curious - I really don't see how Katsa and Jack are that different.

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Arthur B

at 18:10 on 2010-02-07Hmmm, the way I saw The Terminator I thought that Kyle was sort of boyishly obsessed with Sarah before he met her, but once they met there was in fact a sufficient spark which led to them falling in love. His confession is, after all, a confession, that comes about only once they have known each other for a while and he is opening up emotionally to her and she to him. His first words to her are, after all, "come with me if you want to live", not "I've loved you from afar for years! Come with me, your Time Stalker!"

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Rude Cyrus

at 07:48 on 2010-02-08I've finished ME2, and I haved to admit I have some mixed feelings about it, along with a few worries. First, it feels rather sparse in comparison to the first game -- the structure is basically "recruit people, do loyalty missions, do 3 other main plot missions, the end." It's surprisingly linear compared to its predecessor. Second, I'm worried that ME3 is going to be the same way. Bioware is trying to release ME3 in 2011, which is a surprisingly short development time, considering the first game came out in 2007. I fear they're going the Matrix/Pirates of the Caribbean route by developing both games at the same time. As you know the Matrix/PotC sequels were, well, kind of shit. I don't want that to happen with this franchise. I seriously love it.

Or maybe I'm just being paranoid.

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Wardog

at 16:35 on 2010-02-11@Ibmiller

Don't worry, I won't go off the deep-end :P

On the subject of Jack versus River ... I guess ... look at the series rather than the movie which attempted to tie up lose-ends in a rather unsatisfactory way, I would argue that the difference between Jack and River is that River is comprehensively broken in a way that seems unfixable. I mean, Simon looks after her, yes, but in a way that is delicately and ambiguously portrayed as not exactly being good for both of them. Nobody putting his cock in her and encouraging her to cry will make River 'better.' Nor is there ever any suggestion that what River needs to make her better is to have good ol girly cry about it, and rest her head on the chest of a strong man. (I love Firefly, by the way, River and Simon break my heart)

Also I think the difference between Katsa and Jack is that even though Katsa has issues with emotional (and physical) intimacy and has done some terribly violent things, her strength is unquestionably her own, unlike Jack. Katsa is badass because she is badass, not because she is broken.

Also I'm not sure comparing MEII and Graceling is entirely fair because they're such different mediums but I'll just re-quote my favourite line in the entirety of, well, romance actually:

He laughed “You may hunt for my food and beat me every time we fight, and protect me when we’re attacked, if you like. I’ll thank you for it.” “But I’d never need to protect you, if we were attacked. And I doubt you need me to do your hunting, either.” “True. But you’re better than I am, Katsa. And it doesn’t humiliate me.” He fed a branch to the fire. “It humbles me. But it doesn’t humiliate me.”

There's no element of this mutuality between Jack and the PC - Jack cries and opens herself to intimacy (and screwing), the PC doesn't. Of course, this is entirely a problem of the medium. Romances in computer games can only work in one direction, it's a big part of their limitation as a type of storytelling (although not necessarily as a type of interaction).

I'm probably not expressing myself very well - I am not against the idea of a character like Jack coming to express emotional imtimacy towards the PC, I think it's the juxtaposition of vulnerability / femininity / submission that kind of squicks me out. (I'm not against those things either by the way but I think they have to be explicit and acknowledged). There is no reason that Jack couldn't express her vulnerability and then for the characters to have ... you know ... rather less dodgy, weepy, violiny sex.

Actually if you compare it to, for example, the Tali scene it doesn't hold up well. I mean, Tali is clearly nervous (adorably nervous) and she babbles away until the PC reassures her. She's clearly quite emotionally vulnerable here as well - but when the PC removes her helmet she does this beautiful little thing where she's talking away and she just pounces on him and they kiss their way to silence. It's a lovely lovely little scene, because Tali is clearly entirely herself, healthy, consenting and *totally into you in a physical, sexual way*. Rock on.

I should probably have used Tali rather than Miranda - as I don't like Miranda either (hello ... personality pls?) but I wanted to compare human-against-human.

I also liked Ashley a lot, for what it's worth, and Carth. Does this officially make me 40 now? ;) I don't know why Kaiden didn't work since they're quite similar characters and even have the same VA. There's just something fundamentally decent about Carth, even if he does keep whinging about his dead wife.

And, no, you don't come across as an arrogant idiot - I suspect this whole article makes me sound like I'm frothingly obsessed with gender/sex issues.

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Wardog

at 16:39 on 2010-02-11@Cyrus

I kind of stalled at the end of the loyalty missions - I know exactly what you mean about the sense of linearity. Tbh, linear stories don't bother me but it's a little bit *too* all happening in one room-ish. I remember the first time I landed on the Citadel my tiny mind was completely blown by this vast vast place with all the aliens in it. But there's nothing like that to compare in MEII. I mean Omega is basically just a bar and some shops. There's no sense of this sprawling underworld of crime. I can't believe that such a vast galaxy feels so dinky.

I guess it's problematic since they're essentially burdening themselves with huge trailing tendrils of story as they go along but ... but ... I miss the vastness of spaaaaace.

I will finish it though because, like you, I am still crazily in love with the games.

And also with Garrus.

And also with Mordin who might just be the best video game character EVER. I love his moral complexity.

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at 19:27 on 2010-02-11

Err, lies on top of her, begins kissing her face and neck - and then it fades to black. I think that indicates forthcoming sexoring.

That's the beauty of "fade to black". And the other story elements in the game. It's "open ended", leaving the viewer to see

what they want to see

. How each person interprets a situation is very telling of their thoughts and feelings.

I didn't see that scene having enough passion to make it reasonable to assume they had sex. Maybe all they did was kiss and hug each other. She was distraught, after all, which as you said is a strange emotion to have while consenting to intercourse... And yet you made that assumption. Am I the only one that thinks that a man and woman can just "cuddle" and not require intercourse?

If they did have sex, the scene afterward, shouldn't they have their clothes OFF? Or at the very least be partially nude and covered in a blanket, to imply they had sex?

I said nothing of worship. Jack has a problem trusting anyone, and believes that everyone ultimately take interest in her or uses her, for their own selfish reasons. She even describes her feelings about the last time she fell in love. I think because of the

person

Shepard is, she is more inclined to open up to him emotionally, and out of all the people on that ship, it's for that reason that Shepard seems the most likely person she would fall in love with. Of course, not that I expect her to fall in love with him, I'm just saying it makes sense that she does.

Maybe she doesn't discard him or consider him a "manslut", nor is it evidence that she doesn't like sex. I think that when a person engages in casual sex, the intimate nature of the act can change the way each person feels about the other, namely their physical and emotional compatibility.

Also you assume that he would consent to having sex with her on more than one occasion. Maybe he just wanted to have a fling with her and really pursue someone else, like Miranda. Of course the limitations of the game wouldn't allow this, but it still seems plausible.

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http://ibmiller.livejournal.com/

at 19:55 on 2010-02-11Whew, I'm glad I didn't offend too badly. Thank you for such a thoughtful and helpful response - that does help clarify my questions.

I see what you're saying about River, though I'm curious how this explanation and contrast with Jack's storyline fits with River's only made better through her brother (a man's) actions (in series, at least, though in the movie it was sort of a reverse fridge thing), and her frequent crying in said man's arms (albeit certainly not sexual unless you really, really love squick). I agree that the sex thing seems a bit out of place if looked at as the actual healing action - though I think it's mostly an "awkward placement" thing (or can be), since I think it happens late in the game, and they may have been pressed for where else to put the two events (healing and sex).

I'm confused as the reason Katsa and Jack being badass is important - it isn't a choice on either of their part. It's just that Katsa is born with it, and Jack is experimented on. I actually have problems with the whole "superpowered empowerment" thing, since it's terribly unhelpful if you're trying to say something about the "real world" (and I think it's been analyzed on fb at least once before). I mean, even guys don't get much help from thinking "Well, Spider-man can cling to walls, so I will be a good dude and save people," so why would women say "Well, Buffy/River/Jack/Katsa have a demon/experiments/Grace and can defend themselves, so I will be a strong woman and hit people." Doesn't seem to make sense to me.

I think you highlight the real problem or dissonance between interpretations with your comments on medium problems. I personally would read and play the Jack romance with a lot of imagined scenes (that would be pretty unnecessary for the plot and game mechanics, so I don't think it's really a weakness on the game's part that they're not there) in which the main character also opens up (not only to Jack, but other characters) and is vulnerable. After all, one of the reasons I love BioWare games is that you need party members - I'm not a huge fan of FPS or other single-player games. I like the "interaction" (plus I got fed up with "the Chosen One" trope a long time ago).

However, I agree that the Tali romance plot and scenes rock. But I think the Jack ones aren't necessarily as misogynist - at least you don't have to play them as if they were. But then, I also like to handicap myself in RPG to "roleplay." Like playing KotOR with knives or pistols, just because, and then making up a backstory as to why, when the game is clearly geared towards lightsabers.

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http://rebootfromstart.livejournal.com/

at 19:45 on 2010-02-14

If they did have sex, the scene afterward, shouldn't they have their clothes OFF?

Just a little point here: you don't necessarily need to take your clothes off to have sex.

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Arthur B

at 11:15 on 2010-02-15Also, it's worth pointing out that "fade to black" has had a fairly consistent history of being used to indicate that sexual shenanigans of some nature are about to take place. Yes, it can be used to create a deliberate ambiguity. But it is just as often used - and in the sort of context we're talking about here, is almost

always

used - not to create ambiguity, but to quite unambiguously indicate that sex has occurred without actually showing it.

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Wardog

at 16:29 on 2010-02-15@Ibmiller

I hope you don't think it's a copout that I respond generally rather specifically to individual points - I guess I have real problems with the whole broken / bad-ass spectrum of female characters. I mean it's partially tied in with the Empowerment From Disempowerment aka Victim Dilemma that Dan writes about but I think it just ties in quite awkwardly with notions of strong women and their place in the world. I mean one of the reasons I really loved early season Buffy (before Joss Whedon got bitten by the feminist bug) is that early season Buffy is a genuinely strong female character - in that she kicks vampire ass AND simultaneously is a pretty blonde girl who wants a boyfriend and to be a cheerleader. Of course it's partially a joke (incongruity alert! this small blonde girl is KICK ASS!) but until the show went barging down A HERO MUST TAKE RESPONSIBILITY AND MAKE SACRIFICES AND OH BY THE WAY BUFFY IS TOTALLY WRECKED boulevard both aspects of her life had validity... and often you spent the episodes wondering if she would make the cheerleading squad ... oh and also kill the bad guy. I think that's a nice combination, personally. And, again, the thing I really like about early Buffy was that her powers, like getting bitten by a radioactive spider, were just something she had (before she had to get in touch with da spirits of de first slayer or whatever crack that was).

And the different between the broken badass empowered woman versus, say, Spiderman is that although Spiderman struggles to balance being a super-hero and being a normal guy, there's never any question that if he didn't have a moral duty to save people he'd be *fine*. The problems he faces in everyday life are not because, like, he's totally wrecked by his experiences with the spider but because he has chosen a life of ultimate self-sacrfice. You don't doubt for a moment that, if only he could, Mary Jane would be lucky to have him. Whereas with broken bad-ass chicks that which makes them bad-ass is also that which makes them non-fuctional as a person or, implied, as a woman.

I genuinely think the Jack Love Arc is not okay (although I do see your arguments why it might be) - it's not that there's anything per se wrong with a healing-through-lurve thingy, it's the fact that the cRPG format can offer no sense of reciprocity. And the fact he bones her while she cries. Dude. It just strikes me as *potentially* playing into a dodgy fantasy of emotional rescue - you know that the PC can't give her anything (like his cock) while she's "strong" only when she's weak and weeping.

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http://tristanjsstuff.blogspot.com/

at 04:24 on 2010-05-30Out of curiosity, what did you think of Shepard's and Jack's friendship? I've only played through 2 as Nice!Fem!Shepard, and she seemed more like she was trying to 'fix' Jack, and by the end of the game, it seemed more like Jack was on the road to recovery.

Also, I don't understand why Jack wanting closure by blowing the crap out of the hellhole she came from is 'touchy feely crap cause she's a woman'. Sounds like a perfectly understandable (if not reasonable or healthy) response.

Finally, what would you have thought if Jack had all the exact same backstory, personality, motivations and interactions, but was male? Again, I'm just curious.

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Arthur B

at 23:00 on 2010-07-23So I just beat Mass Effect 2. Thoughts:

- I played it as Asshole Shepherd, which is quite good for avoiding sexual creepiness towards Jack. The Renegade attitude towards her (when it doesn't involve trying to bone her) seems to involve a rugged determination not to enable her moping whilst letting her do what's necessary to work through her issues, which just seems miles healthier than "let me heal you with my dick". Either way, I was glad that completing her loyalty mission unlocks the option to make her wear a shirt.

- The loyalty missions could be a bit more diverse. It would be nice to have more which didn't end with the NPC in question confronting a character from their past and either killing them or not killing them. (I quite liked Thane's one for that reason actually).

- I was really impressed with the way they structured the suicide mission and the potential for major NPCs (and you) dying during it. Though apparently Zaeed is a suboptimal person to lead the B-team in the suicide mission, which seems... bizarre. You're told you need to pick someone who's used to leading a team. He once led a whole mercenary army. You'd think he'd be perfect for it.

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Arthur B

at 02:02 on 2010-07-25Double post because I forgot to mention something:

YOU CAN BUY

BOO

AND KEEP HIM IN YOUR CABIN

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Bookwyrm

at 05:08 on 2013-07-05I have a couple questions. When you said Jack was a "pseudo-badass" were you just referring to the story or were you including the game play too? According to

TV Tropes

, Jack is one of the weaker characters despite being touted as one of the most powerful human biotics in the cut scenes.

I haven't played the game myself so I wanted to know if she was at least useful in combat(if you used her at all). Also, what did you think her character in Mass Effect 3?

(Personally I'd like to know how someone with an extensive criminal record and clear psychological issues managed to get a teaching job at Grissom Academy within six months.)

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http://arilou-skiff.livejournal.com/

at 11:59 on 2013-07-05^ Companions don't make that much of a differenc really, pick the one you're most comfortable with.

"- I was really impressed with the way they structured the suicide mission and the potential for major NPCs (and you) dying during it. Though apparently Zaeed is a suboptimal person to lead the B-team in the suicide mission, which seems... bizarre. You're told you need to pick someone who's used to leading a team. He once led a whole mercenary army. You'd think he'd be perfect for it."

He's also the guy whose team always ends up either dead or betraying him :p

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Arthur B

at 12:15 on 2013-07-05

He's also the guy whose team always ends up either dead or betraying him :p

True enough, but the more distance on it I get the more the suicide mission's underlying assumptions and logic seems counter-intuitive and oblique and impenetrable. Which is good if you want people to occasionally die apparently arbitrarily for reasons the player can't fathom, except that really doesn't seem to have been what Bioware were aiming for.

Possibly this is a side effect of me preferring to ignore

ME2

these days, partly because in retrospect I see bits of

ME3

stuff creeping in there (like the weird way it makes you want to consider Cerberus stuff important but then refuses to let you actually interact with it in any interesting fashion) and partly because my peak of enthusiasm for the series was at the end of

ME1

, where it felt like there was still a whole universe out there to explore and the story could go

anywhere

from that point.

#Ferretbrain #Wardog #Video games #Mass Effect #Mass Effect II

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