Tuesday, December 29, 2015

The Mandalorians

“Perhaps there will be no new age, Mandalore, no great Mandalorian crusade. Perhaps your people fought their last battle at Malachor V, and you have been dying ever since, a quiet death that will last centuries. And perhaps all that remains will be what I see before me: a man, wounded by a Jedi, encased in a Mandalorian shell, haunted by the thought of being the last of the Mandalorians.”
    —Kreia, Knights of the Old Republic II: The Sith Lords

The concept of the Mandalorians dates back to the original Star Wars trilogy, specifically the character of Boba Fett. A 1979 issue of Bantha Tracks, the official Star Wars Fan Club newsletter, identified Fett’s armor as that of the Imperial Shocktroopers, mysterious warriors who hailed from the far side of the galaxy and were defeated by the Jedi Knights during the Clone Wars. The following year’s novelization of The Empire Strikes Back dropped the term “Imperial Shocktrooper” but kept the description. 

Note that prior to the release of Attack of the Clones in 2002, with one exception, Boba Fett himself was never identified as a Mandalorian, but merely as an unaffiliated bounty hunter who wore their armor. The exception was a 1982 story arc from Marvel’s Star Wars comic, in which Princess Leia encounters two Mandalorian Supercommandos named Fenn Shysa and Tobbi Dala. In issue #68, “The Search Begins,” Fenn Shysa not only claims that Boba Fett led the Mandalorians during the Clone Wars, but also describes the wars as taking place when Leia was already a young adult. 

This comic soon became an outlier source and was mostly ignored by later lore for more than two decades (although Boba Fett: Twin Engines of Destruction referenced Fett’s past with Shysa and Dala in 1996), though it was eventually reincorporated into EU canon by “The History of the Mandalorians,” an article in Star Wars Insider #80 (2005).

Otherwise, most sources from the ’80s and ’90s were largely in agreement on these basic points: 

A) The Mandalorians were a mysterious group of warriors who fought the Jedi during the Clone Wars and lost. 

B) By the time of the movies all that remained of the Mandalorians was battered pieces of their armor. 

C) This armor was a rare and expensive commodity, worn only by a handful of underworld figures that included Boba Fett (Star Wars Holiday Special, 1978), Jodo Kast (Tatooine Manhunt, 1988), Alfreda Goot (Scoundrel’s Luck, 1990), and Feskitt Bobb (Star Wars Miniatures Battles, 1991). 

In 1995, the Mandalorians finally appeared in their full glory in Tales of the Jedi: The Sith War, a comic set almost 4,000 years before the movies. Following Tales of the Jedi’s incongruously primitive technological aesthetic, these Mandalorians more closely resembled a barbarian horde than an elite force of supercommandos. A race of gray-skinned aliens reminiscent of the Predator, they wore mismatched, almost organic-looking armor covered in spikes, but the mask of their leader, known only as Mandalore, still bore the unmistakable T-slit visor made famous by Boba Fett’s helmet.

And for a long time, that was basically it for the Mandalorians. They were enigmatic and extinct, and the fact that we knew almost nothing about them was what made them awesome. All we had to go by was Boba Fett (and three Boba Fett cosplayers from obscure RPG books), who was extremely popular despite only dressing like a Mandalorian. How awesome, then, must the real thing have been?

Of course, we eventually got our answer, and that was where it all went wrong.

Mandalorian history began with an alien race called the Taungs, one of two sentient species indigenous to the planet Notron, known millennia later as Coruscant. The other species was the Battalions of Zhell, the prehistoric ancestors of humans. The Taungs and the Zhell warred for hundreds of years, but eventually the Taungs were defeated and expelled from Notron. They limped to the planet Roon in the Outer Rim, where they stayed for several thousand years for some reason.

Eventually, however, they were led by their great warrior-king, Mandalore the First, to a lush jungle world populated by giant dinosaurs. Under Mandalore’s leadership, the Taungs drove these “mythosaurs” to extinction and named the newly conquered planet Mandalore in their leader’s honor. Adopting the image of a mythosaur skull as their insignia, the Taungs reorganized as the Mandalorian Crusaders, a roving band of space barbarians who lived for battle and conquest.

Whenever the ruling Mandalore died, a Mandalorian warrior would take up his mask and rename him- or herself as the new Mandalore. Among them were Mandalore the Conqueror, Mandalore the Destroyer, Mandalore the Binder, and Mandalore the Hammerborn. At the time of the Great Sith War, however, it was Mandalore the Indomitable who led the marauding horde, and we already saw how his story turned out. 

The reign of his immediate successor was short-lived, as “Mandalore the Unknown” was quickly supplanted by a usurper who took the name Mandalore the Ultimate. Secretly a pawn of the Sith Empire-in-exile in Unknown Space, Ultimate was responsible for starting the Mandalorian Wars, which saw the extinction of the Taung species and the dawn of a multi-species Mandalorian people united by culture instead of race. Thus the time of the Mandalorian Crusaders came to an end, replaced by the more formally regimented, multi-species Neo-Crusaders.

The Mandalorian Wars, the Neo-Crusaders’ great campaign to conquer the entire galaxy, dragged on for several long years, but it finally came to an end when the Mandalorian forces were lured into a trap at the ancient Sith world of Malachor V. Mandalore the Ultimate was slain in personal combat with Revan, the leader of the Jedi war effort, and the bulk of his fleet and soldiers were destroyed by the Mass Shadow Generator, a superweapon activated by the Jedi Exile, the player character from Knights of the Old Republic II.

Thoroughly defeated, stripped of their weapons, armor, and Basilisk war droids, the Mandalorian Neo-Crusaders went into diaspora. Most hired themselves out to the highest bidder as bodyguards or assassins, becoming known as the Mandalorian Mercs. The Taung species was all but extinct, with the only known survivor being the former Mandalore the Unknown. In the power vacuum that existed after the war, he tried to reclaim his rightful place as Mandalore, but because Revan had taken Mandalore’s traditional mask when he killed Ultimate, Unknown was unable to rally the full support of the Mandalorian clans.

He sent warriors to the Kashyyyk Shadowlands to test a new personal cloaking device, and survived an assassination attempt by HK-47, Revan’s personal assassin droid, when the droid was reprogrammed by one of his own disloyal followers, but ultimately his accomplishments were few. Ailing and near death after the Jedi Civil War, Unknown was visited by Canderous Ordo, a former Neo-Crusader, during his quest to reunite the clans. Seeing that Canderous had already reclaimed the mask of Mandalore, Unknown bequeathed him his armor and his clan, asking him to preserve the old Mandalorian ways before he died.

Taking the name Mandalore the Preserver, Canderous successfully reunited the Mandalorians during the Dark Wars, when they fought alongside the Jedi and the Republic against a resurgent Sith threat.
 
Later, some other things happened.

Monday, December 21, 2015

All My Nights Are Full of Anger

Knights of the Old Republic #16–18: Nights of Anger

Author: John Jackson Miller
Artist: Brian Ching (issue 16), Harvey Tolibao (issues 17 and 18)
Medium: Comic
Publication Date: May – July 2007
Timeline Placement: 3,963 BBY
Series: Knights of the Old Republic

Sadly, we’ve reached the end of Knights of the Old Republic‘s high school-themed titles (Commencement, HomecomingReunionDays of Fear, etc.). Instead, we spend a few minutes with Zayne as he helps Carth Onasi and Admiral Karath escape from the Republic flagship Courageous while it is overrun by the Mandalorians. Then we spend the other two and a half issues watching Jarael play dress up.

Camper is now apparently dying of craziness or something so Jarael takes him back to their species’ homeworld of Arkania to find a treatment. Arkania is a racially segregated hellhole run by amoral eugenicists who have genetically engineered offshoot breeds of their own species to perform the undesirable functions of their society. An offshoot herself, which finally explains why she’s a hot elf instead of a yellow weirdo with claws, Jarael is soon found out by the Arkanian authorities and brought before Lord Arkoh Adasca, Wall Street CEO and King of Science.

Fortunately, Adasca has the hots for her, just like every other male character in this series, and he agrees to cure Camper’s cancer. Although Camper explained repeatedly to her that he is on the run from Adasca’s company, Adascorp, and would rather die than be found by them, Jarael turns him over to his sworn enemies without a second thought because Adasca seems like a pretty keen guy. Five minutes later, Adasca explains that Camper has been afflicted with a disease called “Balinquar’s Virus,” but his miracle medical staff have worked their magic and Camper is now completely cured. Jarael is like “Okay cool” and stands around posing in flimsy low-cut dresses for several weeks.

There has been an awakening . . . [in my pants.]

Since Jarael is an idiot and WebMD doesn’t exist in Star Wars apparently, she doesn’t realize that Adasca is clearly evil and Balinquar’s Virus is a completely made-up disease. Really there was just mold or something growing in their ship’s air vents and Camper got sick from breathing that shit. Sure, why not.

The truth is that Camper, or should I say DR. GORMAN VANDRAYK, used to be one of the top scientists at Adascorp, specializing in the study of space slugs. You will of course remember a space slug almost eating the Millennium Falcon in The Empire Strikes Back and another one being mutated by Naga Sadow to become the feared Sith wyrm. Oh, you don’t remember one of those?

Camper, now completely sane again, has been forced back into Adasca’s service by his power over Jarael, who is too stupid to know she is being held hostage. Camper must continue the work he abandoned when he went into hiding many years ago, which unfortunately involves revealing that the true science fiction-y name of the space slug is the exogorth. Sure, why not.

Adasca invites Jarael to a romantic candlelit dinner for two, then immediately starts coming on to her with dirty talk about genetic purity and racial cleansing. “This is the worst dinner I’ve ever had,” Jarael complains. Adasca assures her that he won’t let their future children bear her Mudblood shame. Arkoh Adasca, I present you with the Completely-and-Totally-Understands-Women Award. You’ve earned it, my friend, you’ve earned it.

He pulls open the curtain and reveals that his ship is parked right outside a giant nest of space slugs—sorry, “exogorths”—and that each of them has a hyperdrive duct taped to its head. He plans to weaponize the monsters and sell them to the highest bidder among the galactic power players, who can then use them to crush their enemies by sending them through hyperspace to eat everything in a given star system.

Sure, why not.

And it’s on this exciting high note that we end the comic. There was something in there about Mandalorian stowaway Rohlan Dyre getting chummy with Adasca and revealing himself to be a huge science geek all of a sudden, but we’ll get deeper into that later.

Why are all the pages in this comic book stuck together?

Meditations

This story marks the beginning of the, or at least a, low point of Knights of the Old Republic. It’s a fun, light-hearted series with likable characters, but there really isn’t much depth to it. Certainly not enough to warrant a six-issue diversion into some B-plot about a boring mad scientist trying to blackmail the galaxy with giant space monsters, especially when it’s soon followed by a four-issue B-plot about zombies and an editorially mandated title crossover. Don’t call your spinoff comic Knights of the Old Republic and then go off on a bunch of tangents unrelated to the back story of Knights of the Old Republic.

This arc isn’t exactly bad, per se, it just feels gratuitous because you know there are much more interesting things happening to much more interesting characters just off the edge of the page. Great, Jarael’s been kidnapped and held hostage again, now can we get back to the massive galactic war?

The art in this run left little impression on me. I still don’t care for Brian Ching’s style, but I appreciate that he at least has one. Harvey Tolibao, who we last saw penciling Reunion, doesn’t do his distractingly weird disembodied hand thing this time, but I really, really wish that they’d just paid Dustin Weaver enough to do the whole series. If he missed as many deadlines as Doug Wheatley, the series might still be running today.

This isn’t the worst but I don’t care.

2/5 Death Stars.

Thursday, October 22, 2015

Let’s Catch Up On the Star Wars Cinematic Universe

Everybody wants to be Marvel. Universal wants to be Marvel. Sony wants to be Marvel. DC really, really wants to be Marvel. Disney, who owns Marvel, now wants Star Wars to be Marvel as well. In doing so, however, they’re hoping we forget that Star Wars was already Marvel before even Marvel was Marvel. The “cinematic universe” may be Hollywood’s newest favorite con game, but the concept has existed for decades, and Star Wars has utilized it almost since its inception. Forget about “canon” and all that meaningless promotional jargon, and let’s use the remaining two months before The Force Awakens hits theaters to catch up on the cinematic story presented so far, because it’s not like you have anything better to do.

The Phantom Menace and Attack of the Clones
 

Anyone who’s never seen a Star Wars movie would do themselves a major disservice by watching them in George Lucas’s preferred chronological order rather than starting with the original trilogy. But since no such person exists, we’ll assume anyone reading this has already seen those movies and is less interested in a thrilling cinematic experience than in a grueling slog through the gutters of continuity. And what more appropriate place to begin!


Star Wars: Clone Wars Volume One


Genndy Tartakovsky, creator of such cartoons as Dexter’s Laboratory and Samurai Jack, lent his unique style to the Star Wars universe in 2003 when Lucasfilm hired him to create a series of 20 three-minute animated shorts to chronicle the events between Episodes II and III. Notable for introducing such characters as Asajj Ventress and General Lou Grievous, the first two seasons were edited into a 69-minute feature. Unfortunately, that DVD is now out of print, but if you can watch only one hyper-stylized children’s cartoon about the Clone Wars, this is the one to go with. Or you could do something cool and read the new Twilight book instead.


Star Wars: The Clone Wars Animated Movie and TV Series


Star Wars: The Clone Wars, not to be confused with Star Wars: Clone Wars, followed in the footsteps of its spiritual predecessor by telling anthology stories about various characters during the Clone Wars. It focused most frequently on Anakin Skywalker’s newly introduced apprentice, kid-appeal-girl-power-Rule-34 character Ahsoka Tano. The Clone Wars ran for 121 episodes across six seasons, preceded by a theatrically released animated film that was actually four separate episodes glued together and therefore sucked.

For no discernible reason, the show’s episodes (now available on Netflix) were produced and aired wildly out of chronological order, leaping back and forth across the Clone Wars timeline. The correct narrative sequence is as follows:

Season 2, Episode 16
Season 1, Episode 16
Star Wars: The Clone Wars (2008 animated movie)
Season 3, Episodes 1 and 3
Season 1, Episodes 1–15 and 17–21
Season 2, Episodes 1–3, 17–19, 4–14, and 20–22
Season 3, Episodes 5–7, 2, 4, and 8
Season 1, Episode 22
Season 3, Episodes 9–11
Season 2, Episode 15
Season 3, Episodes 12–22
Season 4, Episodes 1–22
Season 5, Episodes 2–13, 1, 14–20
Season 6, Episodes 1–13


Star Wars: The Clone Wars Legacy

 
The Clone Wars Legacy is a series of eight unfinished episodes intended to air in future seasons of Star Wars: The Clone Wars before it was canceled following Disney’s acquisition of the franchise. Existing only as rough story reel animatics, the following episodes were released on StarWars.com as the official continuation of the Clone Wars storyline: “A Death on Utapau,” “In Search of the Crystal,” “Crystal Crisis,” “The Big Bang,” “The Bad Batch,” “A Distant Echo,” “On the Wings of Keeradaks,” and “Unfinished Business.”


Star Wars: Clone Wars Volume Two


The third season of Genndy Tartakovsky’s Clone Wars cartoon consisted of five 12-minute episodes depicting the events immediately leading into Episode III: Revenge of the Sith. Like the first two seasons, it was also edited into an hour-long film, which is now also out of print!


Revenge of the Sith


According to the commercial prophecy, the dark side will be doing something dark.


Droids: The Adventures of R2-D2 and C-3PO


A kickass 1985 cartoon that, along with a Marvel comic series, a Dark Horse comic series, and various children’s storybooks, chronicled the adventures of R2-D2 and C-3PO in between Episodes III and IV. Tragically, Lucasfilm has only released a handful of select episodes on DVD, cobbled together into Frankenstein features with no plot or pacing. Worst of all, they don’t even include the opening theme.



 
Star Wars: Rebels Shorts

Currently airing on Disney XD, the cartoon series Star Wars: Rebels was preceded by four animated shorts that introduced and established several of the show’s main characters. In chronological order, the shorts are “The Machine in the Ghost,” “Art Attack,” “Entanglement,” and “Property of Ezra Bridger.”


Star Wars: Rebels TV Series

 
Set five years before Episode IV, Rebels tells the story of the formative days of the Rebel Alliance through a new cast of characters, including Jedi Knight Freddie Prinze, Jr. Despite the timeframe difference, it features multiple returning characters from The Clone Wars, as well as much of the same creative team. Following the aforementioned shorts, Rebels kicked off in 2014 with the TV movie Spark of Rebellion, which led into the show’s first season. Season two, which premiered in October 2015, was preceded by a second film, The Siege of Lothal

 
A New Hope



 
The Star Wars Holiday Special

 
The most infamous entry on this list, the Holiday Special was a feature-length made-for-TV variety show that aired the year after the original Star Wars was released in theaters. Featuring musical numbers performed by both Bea Arthur and Princess Leia, Harvey Korman cosplaying as a four-armed Julia Child, the first appearance of Boba Fett, and Chewbacca’s father watching softcore porn, this is the most highly respected film ever released in the Star Wars canon. For some baffling reason it has never been officially released on home video, but if you’re a true fan you won’t let that stop you.

 
The Empire Strikes Back

 
Empire committed the cardinal sin of not actually ending. Which at the time I was appalled by and I still think it was a terrible idea. . . . I go to movies expecting to have a whole experience. If I want a movie that doesn’t end I’ll go to a French movie. That’s a betrayal of trust to me. A movie has to be complete within itself, it can’t just build off the first one or play variations.”

~ Joss Whedon, television auteur/professional feminist

 
Ewoks

 
The sister show to Droids, Ewoks aired for 35 episodes over two seasons and at long last revealed the highly anticipated back story to all the memorable Ewok characters in Return of the Jedi. Follow along on their mystical adventures as they battle a witch, run afoul of swamp hillbillies, befriend giants, and learn sorcery from their tribe’s elderly shaman. Oh and in the series finale the Galactic Empire shows up to build a Death Star or something but who’d be interested in that?

 
The Ewok Movies


Caravan of Courage: An Ewok Adventure and Ewoks: The Battle for Endor, released in 1984 and 1985 respectively, are a duo of made-for-TV movies that tell the surprisingly dark story of the Towani family, whose spaceship crashes on the Forest Moon of Endor. It’s like Swiss Family Robinson in space, except a lot more depressing. I don’t even remember if these movies are actually any good, but the second one co-stars the guy from the Liberty Mutual diabetes commercials, so that probably makes them worth a trip to your local Blockbuster. Oh . . . wait, no.

 
Return of the Jedi


At last, the long-awaited conclusion to the saga of the Ewoks. Also features a brief cameo appearance by Luke Starkiller or somebody like that.

Sunday, October 11, 2015

Some Common Complaints About 'BioShock Infinite' (and Why They’re Wrong)


BioShock Infinite, as I’ve said before, is one of my favorite games of all time. It is also a game rife with problems. How can we reconcile this discrepancy? Despite the game’s critical and financial success, it’s no trick to find the same handful of criticisms repeated over and over again, blown up out of all proportion, and left to stew in some concoctive regurgitant of gaming journalism. And some of them are even true!

Those that are less so often feel like they’re coming from the wrong place to begin with. Take for instance the complaint that you can’t interact with most of the game’s non-player characters, despite the token dialogue they occasionally offer you. What were people expecting on this front? BioShock Infinite never advertised itself as an RPG. When I play Halo, I’m neither surprised nor upset that Master Chief can’t have a conversation with any of the nameless Space Marines standing around in Sergeant Johnson’s briefing rooms.

The first BioShock was not only completely devoid of dialogue trees, but the protagonist was also mute. If anything, someone looking for their player character to be more interactive with the game world should praise Infinite for delivering an FPS protagonist with extensive scripted dialogue and a personality more defined than “player surrogate.” If I wanted to know the life story of every generic NPC standing on the street corner I’d play a BioWare game.

Moreover, parts of the game that do offer greater interactivity are often met with indifference or derision. When the player has the option to play a guitar he or she might come across, it’s ridiculed as pretentious, annoying, too on-the-nose. The ability to buy food from vendors on the boardwalk bears no consideration, nor does Elizabeth plucking a rose and wearing it in her hair while you explore the next area.

It’s even possible to trigger a scripted dialogue sequence with some NPCs just by walking up to them, but because BioShock Infinite is a shooter without selectable dialogue options—just like almost every other mainstream shooter—it supposedly fails to establish an immersive game world. I’m all for integrating RPG mechanics into shooters, but why blame the game for lacking something its genre, developer, franchise, and marketing all suggested it wouldn’t have?

This same frustration extends to things as mundane as not being able to free two men in Shantytown from their imprisonment in a pair of stocks. You have a gun and a hook-hand, so why can’t you get them out? Terrible game design! I would guess that the reason is probably because it isn’t feasible to code every possible action the player could take that isn’t connected to the main plot or its side quests. You also can’t shoot the lock off a door, break open a vending machine, or escape Columbia by constructing a parachute and leaping over the side of the city. Should the specific action of freeing these specific prisoners have been coded into the game? I don’t care, but the game is full of people in jails, and it wouldn’t have hurt to be able to help some of them. Really, though, it’s just an example used by critics to illustrate their discontent with the game’s interactivity, a complaint that is due more to the limitations of video games in general than to any shortcoming unique to BioShock Infinite.

That said, it’s true that the game didn’t completely live up to its pre-release marketing hype. Elizabeth’s unscripted tears can do little more than spawn turrets, weapons, ammo, health, and, more rarely, environmental hazards. It’s a great help, but not exactly a highlight of the gameplay. Furthermore, this is a far cry from the wide variety of tactics and applications the tears were talked up to have while the game was in development. I gladly would have waited through another year of development if Irrational Games had been able to implement her powers to the full extent they discussed in the demos, creating doorways to escape from combat and forcing the player to use Elizabeth’s ability more tactically by giving it a recharge timer.

One demo showed Elizabeth being accosted by a homeless man begging for food, and I wish the developers had been able to make the environment come to life and interact with the player in little ways like this. I’m just as disappointed that the final game doesn’t allow you to interfere with the actions of the Vox mob, and it’s completely fair to feel a little cheated that these advertised aspects of gameplay didn’t make the final cut.

Elizabeth mourns a victim of the Vox Populi uprising in a scene altered in the final game.
 
But only a little. The fact is that few games fully incorporate everything their overambitious developers want to include. It’s disappointing, certainly, and arguably even slightly dishonest not to admit which advertised features didn’t make the cut, but it’s hardly a game-breaking flaw. Would BioShock Infinite be more fun if Elizabeth could summon a freight train from another universe to run over enemies? Yes, definitely. Does the lack of this ability impair the gameplay in any way? No more than the absence of any kind of tears in the first BioShock impaired that game.

Speaking of absence, what about the puzzling critiques of the game’s civilian AI during combat sequences? If you’ve played the game, you may have noticed how anyone who doesn’t want to kill you hightails it off the map when the bullets start flying. Apparently this was a confusing programming choice that needed to be singled out for censure. Did it really, though? These aren’t enemy types, they’re just civilian NPCs. When the fighting starts, they run away to avoid being shot, set on fire, blown up, or pecked to death by crows. Is this really such an unusual game mechanic? It makes more sense than programming them to run around haphazardly in the middle of a firefight.

Certain criticisms of the characters ring similarly hollow. Critics often compare Infinite’s dramatis personae to that of the original BioShock, and end up looking down their noses at Columbia’s villains for not writing any poetry about rabbits. While it’s true that the first game’s supporting characters did tend to be more flamboyant and memorable than those in Infinite, it was because they had to be. The main character of BioShock, Jack, has almost no personality or character of his own. He is intentionally left as a blank slate, a pawn of the game’s allegorical meta-commentary on video games. BioShock is more about the city, the madmen who live there, and what they represent than it is the story of any one character.

This is not the case in BioShock Infinite. Booker DeWitt is no stand-in for the player; he is a fully fleshed out and realized character with a detailed past. The player may control his actions, but his identity is his own. Some will argue that comparisons between BioShock and BioShock Infinite are fair game because they both take place in decaying dystopian societies, but this isn’t an apt criterion.

The heart of BioShock Infinite is the relationship between Booker and Elizabeth. While the game is packed to the brim with big ideas—perhaps even bigger ideas than filled its predecessor—the narrative is blatantly character-focused. Jeremiah Fink and Daisy Fitzroy, while interesting characters in their own right, are no Sander Cohen or Dr. Steinman, and Zachary Comstock is certainly no Andrew Ryan—but they don’t need to be, and it’s a mistake to expect something old from a game that’s so obviously doing something new. BioShock Infinite is Booker’s story from beginning to end. Which type of narrative is better is a matter of opinion; that they are intended to be different is not.
 
The relationship between Booker DeWitt and Elizabeth is the heart of BioShock Infinite.

Regarding combat, some will assert that the game provides few opportunities for strategy more complex than shooting enemies in the face until they die, and that your variety of vigor powers doesn’t come into play at all. This is not entirely accurate, however. On lower difficulty levels, it’s true that the different vigors function as little more than fun ways to switch up your method of execution.

On hard difficulty or 1999 Mode, however, the tactical advantages of different vigors against different enemy types do come into play. The best way to stop a rampaging Handyman in his tracks is with Murder of Crows, for instance, and the massive battle at the end of the game is nigh-unwinnable unless you’re able to chain lightning between Motorized Patriots with an upgraded Shock Jockey. Possession in particular becomes invaluable when used tactically to clear rooms full of enemies without engaging them yourself.

But by and large, BioShock Infinite’s combat is not the high point of the game. While the vigors are fun, the weapons are mostly interchangeable and offer no interesting upgrades. The ability to carry only two weapons at a time discourages the player from experimenting with different combinations once they’ve secured something as powerful as the Hand Cannon or paired the shotgun with the vigor Undertow.

This raises the question, however: is combat really one of the main draws of a BioShock game? The answer is almost certainly no. At their most basic level, the games are shooters, but thematically, philosophically, contextually, they’re much more than that, and fans of the series expect much more than that from them. Was the combat in the original BioShock particularly revolutionary? Not really; while perhaps more complex than Infinite’s, it was a pretty standard strategic FPS in a survival-horror environment, plus the ability to shoot magic from your hands. The basic shooter portion of its gameplay may not be particularly inspired, but with its implementation of sky-lines and tears, BioShock Infinite has really only evolved and streamlined the combat mechanics of its predecessors.
 
A Motorized Patriot, part of the game’s “Heavy Hitter” class of enemies.

Perhaps BioShock Infinite’s most hyped advancement was the AI for Elizabeth. And for the most part, her AI is extremely impressive. She almost never behaves in ways that break game immersion or that make her a burden to the player. In a strange catch-22, however, her coding sometimes calls attention to the fact that she’s not calling attention to the fact that she’s a video game companion. While assertions that she is a weak character couldn’t be further from the truth, Elizabeth’s inability to be detected by enemy AI is a bit of a programming oversight.

I suspect this was done to prevent her from inadvertently sabotaging the player’s attempts to use stealth or drawing in a hoard of enemies the player wasn’t yet prepared to face, but it does sometimes detract from the experience. Given the alternative, however, it’s a fair tradeoff. More distracting is when she is occasionally hit by stray enemy fire but has no reaction because she isn’t coded to register hits. I’m glad that you don’t have to protect Elizabeth on the battlefield, but there must have been a way to make her invincible without having her shrug off direct missile strikes to the face.

Despite my objections, however, certain analyses hit the mark more often than not. Columbia’s vigors, for example, are not very smoothly integrated into the game. They made sense in Rapture (well, as much sense as magical sea slugs can ever be expected to make), a society guided by the virtue of selfishness and the unending quest for self-improvement. In a society based around religious fervor, racial supremacy, and good old-fashioned American exceptionalism, however, they just don’t feel like an organic part of the world. But it’s a BioShock game so they had to be there.

Other points stretch from a lack of world-building in the voxophones to the tedious boss battle with Lady Comstock. And why couldn’t we look into the past through any of the scripted tears we encounter? We can hear people talking, but that’s functionally no different from a voxophone. This is such an obvious trick, it’s amazing no one at Irrational thought to put it in the game.

It bears considering, however, that many, if not most, of these and other commonly cited issues don’t appear or affect the game until the final third or so of its length. The point at which the characters start hopping through parallel universes is also the point at which both story and gameplay suffer the most.

Once you enter a world where every faction is trying to kill you, both the previous enemy types and your erstwhile allies, the interactivity issues mentioned above are finally noticeable. Elizabeth becomes less chatty, non-hostile NPCs become less commonplace, and for some reason it seems like the environment itself becomes less organic. You’ll be walking down long, elaborate corridors that, although beautifully rendered, feel like they should be brimming with lootable items or at least stuff that you can knock over or interact with in some way. But it’s all just scenery, and the result is a sense of hollowness and sterility incongruous with the gorgeous graphic design.

I understand it wouldn’t have been feasible for Elizabeth to maintain long-running conversations with you during gameplay, including combat, as she did in the E3 demo, but I also don’t see why she had to shut up completely. In Battleship Bay, she skips stones on the lake, comments on the city’s quantum engineering, and delights in a gift of cotton candy from a vendor. By the time she’s abducted by Songbird and taken to Comstock House, it’s rare to hear her talk outside of combat or cutscenes, and that’s a shame.

So it’s not as if the game is without its flaws. But just because they become more apparent as the narrative enters its home stretch, they don’t retroactively apply to the gaming experience prior to that point. For each disappointing or inconsistent element of gameplay, there are a dozen positive accomplishments to balance it out, and everything that follows the final battle on Comstock’s flagship is as strong as everything that preceded your first journey through the tear. Oh but I guess none of that matters because parts of the magic flying city seem more like a combat arena in a videogame than a place where people would realistically live.

Therein lies the real problem with this flavor of criticism. Instead of evaluating the game for what it is, it condemns it for what it is not. Such points, while cogent, frequently come off as so pedantic, so nitpicky, that they brush aside all the good the game achieves, everything special, memorable, or unique, because it fails to be either the same game as its precursor or a perfect simulacrum of reality. In the Internet age of undeserved negativity and thoughtless criticality, it’s disheartening to see BioShock Infinite, a game that tries so hard and offers so much, be so easily dismissed just because it isn’t perfect.

“The problem with BioShock Infinite,” one critic summarized, “is it’s a game that wants to blow your mind rather than encouraging you to use it.” Ignoring how trite an analysis that is, why can’t it do both? How many people, upon completing the game, immediately started looking for answers, looking to discuss their experience, looking to understand? And yet the game didn’t make them think? Are all of the clues, the foreshadowing, the thematic structure and repetition, the allegory and symbolism, the social and historical commentary so simplistic and obvious as to preclude any consideration from the player? Maybe BioShock Infinite isn’t the greatest game ever made; it has plenty of faults to criticize. But so does the greatest game ever made, whatever it might be—and that doesn’t stop it from being the greatest.

It’s Sneak King, by the way.

Sunday, September 13, 2015

Days of Labour Pains

Labor Pains

Author: John Jackson Miller
Medium: Short story
Publication Date: April 2008 on StarWars.com (republished on Unbound Worlds)
Timeline Placement: 3,963 BBY

This first-person story, a rarity for Star Wars fiction, is an excerpt from the memoirs of Marn Hierogryph, narrated by the Gryph himself. Gryph and Zayne run a con on two art collectors on the planet Ralltiir: a gullible Muun and his “father,” a morbidly obese Rodian in a hoverchair.

I love these guys. Someone should have given them their own series.

There’s some weird moral obfuscation where Zayne objects to this swindle (the alleged “art” they are trying to pawn off is just junk they stole from Camper’s workshop) but Gryph convinces him to come around because the fact that their marks are buying what they think is stolen art makes it okay to rob them. Whatever helps you sleep at night, I guess.

This story is completely inconsequential fluff but it’s funny. 3/5 Death Stars.

 

Knights of the Old Republic #13–15: Days of Fear

Author: John Jackson Miller
Artist: Dustin Weaver (issues 13 and 15), Brian Ching (issue 14)
Medium: Comic
Publication Date: January – April 2007
Timeline Placement: 3,963 BBY
Series: Knights of the Old Republic

We meet up with our less-than-intrepid heroes on the planet Ralltiir, where we left them at the end of the preceding short story. Zayne spars with Jarael outside the The Last Resort to test the vambraces she’s given him. Gauntlets laced with phrikite, a lightsaber-resistant ore, the vambraces prove to be fully functional when Jarael steals Zayne’s lightsaber and attempts to cut off his hands while he screams for her to stop. No means no, kids.

[Continuity Note: Phrik, the alloy produced from phrikite, dates back to the mid-‘90s EU, originating in the videogame Star Wars: Dark Forces, where it was used to construct the robotic dark troopers. One of several lightsaber-proof substances in the EU, phrik eventually fell largely out of use among Star Wars authors in favor of cortosis. Of course, cortosis ore was introduced as a very brittle material that caused lightsaber blades to temporarily short out instead of being outright energy-resistant armor. As is the nature of the EU, in most of its appearances, including the KotOR games, cortosis was written to function more like the previously created and underused phrik.]

Flush with cash from Gryph’s bank account on Telerath, Jarael and Camper prepare to take the The Last Resort and go back into hiding from their mysterious pasts. Zayne is forlorn about Jarael leaving with no apparent reluctance. She tries to make up for her indifference by saying she’s glad she didn’t kill him when she had the chance. For some reason that doesn’t do the trick though.

“’Tis better to have loved and lost than never to have loved at all.”
– some stupid guy

The The Last Resort makes orbit, where they find the Republic fleet massing in preparation to meet the Mandalorian invasion. Jarael says she hopes Zayne and Gryph will be able to sneak past without getting caught. Camper tells her to mind her own business. Meanwhile, in the ship’s hold, a cargo container pops open and out steps assassin droid HK-24.

[Continuity Note: HK-24 is, of course, meant to be a precursor to HK-47, a companion character in both KotOR games. Although the games established that HK-47 was personally constructed by the Sith Lord Darth Revan, later sources introduced a whole line of HK-series assassin droids mass produced by Czerka Corporation. The first was HK-01, a prototype model who was retconned to be the instigator of the Great Droid Revolution mentioned by Arca Jeth in Tales of the Jedi. So we’re left with a Darth Vader-building-C-3PO situation where apparently instead of designing some kind of unique robot from his own imagination, Revan just opted to buff the specs of some manufacturer’s product line. Isn’t continuity great?]

HK-24 shoots poor Elbee and overwhelms Camper and Jarael, but they are saved when Rohlan Dyre steps out of a different cargo container and shoots HK- in the head. I guess he’s just been hiding in this box since the end of Flashpoint, presumably surviving on space cockroaches and his own urine.

Meanwhile, Gryph secures a new ship by hiring the galaxy’s worst starship thief, a Trandoshan named Slyssk, who is also the most twee Star Wars character since that dog dressed as an AT-AT.

 So kawaii!

Slyssk decides to hold out for more money than Gryph had hired him for so Zayne uses the Force to endanger his life by collapsing a giant pylon on him. Gryph pretends to save him by pushing him out of the way, causing Slyssk to name Gryph his “grakhowsk” and swear a life debt to him. Our heroes!

The original crew of the Little Bivoli, the stolen ship, shows up looking for their craft. Zayne, Gryph, and Slyssk escape under a hail of blasterfire, realizing once they are aboard the Little Bivoli that it is a military provisioning ship. They make it to orbit and run smack into the Republic fleet, where they are hailed by newly promoted Admiral Saul Karath’s warship Courageous and ordered to fall into formation. Flying as inconspicuously as possible, the Little Bivoli tags along with the fleet as it makes the hyperspace jump to the planet Serroco.

Gryph puts a chef hat on Slyssk and they quickly gain a reputation among the Republic soldiers for having the best food in camp. Zayne disguises himself by wearing goggles and goes to work as a dishwasher, in which capacity he makes the acquaintance of the fleet’s most talented pilot and the first recruitable party member in KotOR, Lieutenant Carth Onasi:


Carth strikes up a conversation with Zayne about Serroco’s native intelligent species, the Stereb, when they see one picking through the trash for leftovers. Carth is moved by Zayne’s kindness in offering the alien a free meal and tells him about the practical jokes he used to play on the dimwitted aliens back when he was stationed on the planet’s orbital watchstation. Using the Republic’s communications network, he would broadcast tornado warnings and send the Stereb scurrying for shelter below ground. He used to think it was great fun, until he went down to the planet and met its people in person.

Zayne wonders if the Republic is endangering the Stereb by placing their military encampments right next to the natives’ stone cities, but Carth explains that Republic command ordered them here against Saul Karath’s better judgment. Zayne wanders off by himself and unknowingly falls into a trance, in which the Force grants him a vision of the future: the Mandalorians will destroy Serroco in one day. “I see what they’re doing,” he hears Mandalore say. “I see a defense without honor. Let them see what such a defense deserves. Let them burn.

He runs to tell Gryph to pack up and take off immediately, then stows away on Carth Onasi’s ship to warn Admiral Karath aboard the Courageous. Carth catches him but Zayne reveals that he is a Jedi, leading Carth to trust his clams of precognition and agree to take him to the admiral. Meanwhile, Gryph and Slyssk talk about how they should probably get the frak out of there, then nonchalantly continue serving breakfast because I guess they’re stupid or something.

Carth takes Zayne before Admiral Karath, who immediately recognizes him as the Jedi killer of Taris and, he believes, a Mandalorian spy. As Zayne is put in handcuffs, he tries to explain that the admiral has to move the Republic forces away from the Stereb cities to avoid insulting the Mandalorians’ sense of honor. He suggests they call his good friend Squint for a character reference, but the fact that he doesn’t even know his friend’s real name puts the kibosh on that.

Just as the Republic expected, the Mandalorian fleet suddenly arrives in the system, but for some reason they don’t advance and hold position outside their enemies’ weapons range. Zayne continues to plead with Admiral Karath, who ignores him, and the Mandalorians fire a spread of nuclear missiles. To the surprise of everyone but Zayne, however, the missiles avoid the fleet entirely and head for the planet.

“Maybe we shouldn’t have served seconds . . .” Gryph muses, looking up from his pile of gold-pressed latinum, and then the entire planet is consumed in mushroom clouds. Across the galaxy, various characters sense Serroco’s death through the Force, as if millions of voices suddenly cried out in terror and were suddenly silenced.

Oh hi Malak and Revan.

The people! The people!” screams Zayne. Morvis, Saul Karath’s second in command, reports that Serroco’s human settlements have sustained heavy damage, while the Stereb cities have been completely wiped away. Only eight Republic ships managed to escape the planet’s surface. Zayne, still reeling from the mass deaths, asks if the Little Bivoli was among the survivors. Carth calls up its burning hull on the monitor and is like NOPE.

Admiral Karath vows that he will personally hand Zayne over to the Jedi Masters from Taris, then has him locked in the brig. That night, Carth Onasi stops by and tells Zayne he had decided to prank the Stereb for old times’ sake and called in tornado warnings to seventeen of their cities. The Republic has yet to hear from any survivors, but given the depth of the planet’s catacombs, Carth believes that some Stereb have a good chance of making it.

He wasn’t sure if he should trust Zayne’s vision, but says he hopes someone would play the same joke on his family if the situation arose. (This is a reference to how Carth will eventually lose his wife and son when Saul Karath bombs their homeworld during the next war.) “Hang in there, Zayne,” says Carth, and closes the door.

Meditations

So this story is really good but before we get into that let’s talk about the massive, gaping continuity error! The Mandalorians’ destruction of Serroco originated in Knights of the Old Republic II: The Sith Lords. “I heard about Dxun. Everyone has. I heard about Serroco, and I sure as hell know about Malachor V. What makes you think you’ve got the right to interrogate me on anything? You’ve got plenty of lives to answer for—all you Jedi do,” party member Atton Rand Paul tells the player character. The implication here is clear: the Jedi were somehow responsible for Serroco’s destruction.

Except the event as depicted in the comic has nothing to do with the Jedi whatsoever. The Mandalorians were provoked not by the Jedi, but by the Republic command’s decision to use the Stereb cities as shields.

KotOR II also establishes that the player character was present on Serroco during its destruction. Days of Fear just barely covers its ass regarding this, giving Carth a brief line about rogue Jedi rumored to be investigating the front. Galactic Republic Defense Ministry Daily Brief #KD0092, the in-universe news supplement included with Knights of the Old Republic issue #24, also makes reference to a lone Jedi escaping the planet’s destruction. So they remembered that your character from the game was supposed to be there, but not that you were supposed to have somehow played a role in the bombing. Whoops!

Minor continuity hiccups aside, though, this is a pretty good little installment in the series. Unlike in Flashpoint, half the cast doesn’t get much to do, since Jarael, Camper, and Rohlan are missing from much of the story. I would still rank it above that earlier arc, however. This series’ original characters are great but I’ve always regretted how underutilized the characters from the actual KotOR games were, so having Carth show up here and actually be a pretty cool guy instead of the paranoid whiner most people remember from the game was a nice little surprise. The entire sequence from Zayne’s vision of the future to the moment that vision comes true is the most intense in the series so far.

Although we don’t know Serroco and its people that well, we spend just enough time there to appreciate the shock and pain its destruction causes in our characters, Jedi and Republic alike. One of the nice things about having a cast this large is how you can use them to jump across the galaxy just for a moment and get a snapshot of what’s happening in the part of the story you’re not seeing at the moment. Revan and Malak “The Revanchist and Alek” only show up for a single panel but it’s one of the highlights of the issue. It’s cool seeing how everything fits together, how Zayne slots into the parts of this war we’ve only heard about, and the parts we’ve yet to see.

5/5 Death Stars.

Thursday, August 20, 2015

The Brothers Del and Dob Moomo

Knights of the Old Republic #11–12: Reunion

Author: John Jackson Miller
Artist: Brian Ching (issue 11), Harvey Tolibao (issue 12)
Medium: Comic
Publication Date: December 2006 – January 2007
Timeline Placement: 3,963 BBY
Series: Knights of the Old Republic

The gang arrives on Telerath, the Inner Rim’s most luxurious banking planet-cum-pleasure resort, to scam 100,000 credits out of Gryph’s frozen bank account. Posing as Baron Hyro Margryph and Chantique, Camper and Jarael meet with a banker named Arvan to spin their cockamamie yarn about the bank confusing the baron’s name with that of wanted criminal Marn Hierogryph.

Their meeting is interrupted when a pair of Ithorian bounty hunters leap out of the bushes and abscond with the banker. Hearing the commotion over Jarael’s hidden earpiece, Zayne and Gryph run out of the The Last Resort to see what’s going on. Camper randomly goes catatonic so Zayne is left to pursue the kidnappers by himself. He ends up coming face to face with them and realizes that the banker being abducted is, in fact, his father. “Hi, Dad. Umm . . . how’s it going?” he asks. Then somehow by the next page the Ithorians have made it back to their ship with Arvan while Zayne has lost them completely. Did they forget to write a transitional scene here?

The Ithorians, idiot brothers Del and Dob Moomo, have Raana Tey on speakerphone and she’s bitching them out for kidnapping Zayne’s father when all she hired them to do was report on his activities. Now that her trap for Zayne on Telerath has been prematurely sprung, she tells the Moomos she will rendezvous with them in a few days and eliminate Arvan herself.

The brothers start arguing and throwing things at one another, prompting one of them (it does not matter which) to go to a bar. Gryph tracks him down there and scams him into thinking Zayne will turn himself over to him if he releases his father. Zayne follows this Moomo back to his ship, the Moomo Williwaw, where the Moomo brothers start punching each other again.

While they’re distracted, Zayne sneaks in and frees his father, who tells him that he and Zayne’s mother never believed that Zayne actually killed his classmates. He then adds that if Zayne did do it, he must have had a good reason. Goddammit, Zayne’s dad.

Arvan completes Camper’s transaction, which means that Gryph can finally pay Zayne for all the work he’s done since being promoted to henchman. Zayne asks his dad to transfer his first paycheck to his dead friend’s sister on Taris, aka that blonde he had a crush on in the first book. Now that he knows the Jedi Covenant has stooped to targeting his family, Zayne has his dad put in a transfer request to the bank of the Jedi Enclave on Dantooine, the one place Zayne knows his parents will be safe.

The greatest criminal minds of our time.

Meditations

This story is twice as long as the previous one and I described it in half the space. I’m pretty sure Arvan Carrick doesn’t even appear in the series again after this so I’m not sure why we needed to spend two issues on one of the Jedi Covenant’s many backup plans. They’re leaving no stone unturned in their quest to catch Zayne, I got it. Just humor my attention span with more videogame references please.

The art duties on this story are again split between Brian Ching and Some Other Guy. The other guy’s style isn’t the worst ever but it’s still noticeably and distractingly worse than Ching’s, which I’m not even that crazy about to begin with. There’s this weird thing that he does at least twice where he’ll have a close-up of a character’s face in one panel, then adorn it with an illustration of their disembodied hand, because it’s vitally important that we see both their facial expression and how many fingers they’re holding up at the same time. It’s peculiar and I don’t care for it.

Having the perpetually befuddled Camper impersonate a baron provides a fun little character moment at the beginning of the story, but there’s not really a lot going on here. Fortunately, this arc also introduces the Moomo brothers, who are great fun in a developmentally arrested, physically abusive sort of way. Nearly all Ithorians in the EU are depicted as peaceful nature-lovers, and Gryph explains that they maintain that reputation by kicking out violent knuckleheads like the Moomos.

They’re fun characters but the rest of this just feels like filler. I’m sorry but I don’t care about Zayne’s father. I just don’t.

2/5 Death Stars.

Thursday, August 13, 2015

Of Councils, Butler Droids, and Giant Blue Faces

Knights of the Old Republic #9: Flashpoint Interlude: Homecoming

Author: John Jackson Miller
Artist: Brian Ching
Medium: Comic
Publication Date: October 2006
Timeline Placement: 3,963 BBY
Series: Knights of the Old Republic

After Zayne Carrick’s escape from Taris, the Jedi Masters stationed there were recalled to Coruscant. On their way to meet with the Jedi High Council, Lucien Draay, Q’Anilia, Raana Tey, Xamar, and Feln stop by Lucien’s family estate to see his mother, but Lucien is turned away at the door by his family’s droid butler.

The Jedi Council of this time consists of NPCs from the KotOR games, including Vrook Lamar and Vandar Tokare, both of whom we’ve previously met, as well as Atris and Zez-Kai Ell. When the “Jedi Covenant,” as they call themselves, arrives at the Jedi Temple, the council is already in session with Alek’s mysterious Master, a hooded man whose face is never visible.

Master Vrook (played by Ed Asner) and Atris lecture him for nosing around the Mandalorian invasion against their wishes and getting many of his followers captured on Suurja. The unnamed Jedi passes Lucien and the others on his way out, reminding them of his warning about the coming war back on Taris. “The truth is written in blood!” he cries flamboyantly.

Master Vrook will brook no more backtalk today, so when Lucien suggests that the Jedi make the hunt for Zayne Carrick their priority, he puts his foot down. “If we’re going to have a Jedi Council at all, then somebody, somewhere, is going to do what it tells them!” he snarls, suggesting that the council’s existence is relatively new. Too bad Shadows and Light already jumped the gun and had a Jedi Council calling the shots 30 years before this.

Despite their protestations, the five Taris Masters are reassigned to separate positions and dismissed from the Council Chamber. They go back out to their car and Lucien tells them that the Jedi Council can eff off, they’re the Jedi Covenant and they do what they want.

A Sith Lord could walk right in front of the council and they’d lecture him about neutrality!” Raana Tey complains (emphasis mine). Feln, a Feeorin, says that among his people there is no nobler cause than to retake conquered territory like Alek’s Master is doing, and asks what the Basic (English) word for that concept is. “Revanchism,” Lucien answers.

Hmmm . . .

Lucien gets a text from his butler droid and they head back to his mom’s house.

A series of flashbacks throughout the comic reveals Lucien’s back story, starting with his early childhood. His mother, Krynda, was a half-human, half-Miraluka Jedi seer obsessed with clairvoyance. Her husband and sister, both Jedi, were killed in the Great Sith War, after which Krynda, terrified that the Sith would one day rise again, devoted her time to training seers without the Jedi Council’s supervision. Since Lucien was born without the gift of Force prophecy, he was always a disappointment to her.

Krynda founded the Covenant, a secret fanatical cabal within the Jedi Order. She devoted all her time and energy to training Q’Anilia, Raana Tey, Xamar, and Feln, her greatest group of students, while Lucien was left to learn rudimentary Force skills from his mother’s assistant, Haazen, a former Padawan who flunked out of Hogwarts when he lost his arm, eye, and both legs during the war. Haazen convinced Krynda to allow Lucien to formally enter the Jedi Order so he could serve as her apprentices’ manager and protector.

Lucien returns to his house in the present day, where Haazen berates him for taking it upon himself to murder the Taris Padawans after he had been explicitly instructed to bring them to the Draay estate for further investigation. Because of him, the Jedi Covenant has just barely escaped exposure. Then Haazen kicks him out and slams the door in his face.

It’s really cool seeing this series beginning to reveal how deeply its roots are sunk into the previous lore of this era. This issue is filled with organic references to both the KotOR games and Tales of the Jedi, with Krynda Draay even name-dropping good old Master Vodo. Short but sweet.

3.5/5 Death Stars.

Tuesday, August 4, 2015

The Mandalorian Wars Begin!

Knights of the Old Republic #7–8, 10: Flashpoint

Author: John Jackson Miller
Artist: Dustin Weaver
Medium: Comic
Publication Date: July – November 2006
Timeline Placement: 3,964 – 3,963 BBY
Series: Knights of the Old Republic

The crew of the The Last Resort (seriously, why didn’t they just name it Last Resort? Everyone’s going to put “the” in front of it anyway) set down on the planet Vanquo, posing as refugees from the Mandalorian invasion. Using Zayne’s lightsaber, Jarael disguises herself as a Jedi and cons the occupants of a mining outpost into thinking the Mandalorian fleet is attacking the planet. They run for their lives, leaving their food stores to be plundered by Zayne and his friends. Zayne, Gryph, Camper, and Elbee begin loading supplies onto the ship while Jarael plays with Zayne’s saber (bow chicka wow wow). They are suddenly interrupted when the Mandalorians decide to invade the planet for real.

And just like that, the Mandalorian Wars have begun!

Today we celebrate our Independence Day!

Separated from the group, Jarael is immediately captured by the invading horde, while Zayne and the others hightail it back to the ship. They are pursued by a detachment of Mandalorians commanded by Rohlan Dyre, who beats them to the The Last Resort and takes off in it without them or the rest of his men. Just, like, for a ride I guess. With Zayne, Gryph, and Camper clinging to Elbee, the taciturn droid grabs hold of the ship’s loading ramp and everyone manages to get inside before the ramp closes.

Camper promptly beats up the Mandalorian carjacker with Jarael’s lightning-stick and sets course for Mandalorian space, following the tracer signal from Jarael’s bracelet. Gryph suggests that the Mandalorians might just really like expensive jewelry. Rohlan explains that, since his people think Jarael is a Jedi, they are taking her to their scientific research station for studying captured Jedi on the planet Flashpoint, a world so close to its star that its day is only an hour long and no life can survive outside a small shielded zone.

priceisrighthorn.wav

Their jump to Mandalorian space is observed by Captain Saul Karath of the Republic warship Courageous. A secondary villain from the first KotOR game, Karath is still a loyal Republic soldier at this time, and upon identifying Zayne’s ship as belonging to the killer of the Jedi students on Taris, he decides Zayne must have been a Mandalorian agent all along and vows to hunt him down and bring him to justice. Doesn’t he have anything better to do, what with the invasion and all?

Zayne asks if Rohlan is some kind of deserter, but Camper tells him that such a concept doesn’t even exist for Mandalorians. Rohlan tells them that he was the only one of his people to question their leader’s tactics in this war and his motivation for starting it. He has repeatedly run off to search for answers, only to be caught and sent back to the front to die in glorious battle. Failing to convince Zayne and Camper to give Jarael up for dead, he resolves to help them infiltrate Flashpoint in the hope of finding answers there.

Meanwhile, we’re introduced to the “big bad” in this period of galactic history, the supreme commander of the Mandalorian forces and architect behind the burgeoning conflict, Mandalore the Ultimate. Despite wearing the mask of the Mandalore we previously met in The Sith War, this character was established in an RPG sourcebook as not being the same Mandalorian who took up the mask at the end of that story. I’m not sure why.

Don’t act like you’re not impressed.

Mandalore is chilling with his bro Cassus Fett, talking strategy and shooting the shit. He’s like “Oh hey btw, did you send our bud Rohlan on another suicide mission yet?” and Cassus is like “Yeah but he ran away again lol.” To which Mandalore the Ultimate replies, “For his sake, he’d better hope he’s dead!” Which doesn’t make much sense, but he’s drunk so whatever.

On Flashpoint, Jarael is dragged into the Waiting Room of Doom, where all the captured Jedi just sit around completely unfettered until they’re brought in to be experimented on by the sadistic Mandalorian scientist Dr. Mengele Demagol. There are like a dozen Jedi and only a handful of guards, so I guess they all just forgot how to use the Force or something.

Soon after Jarael gets smacked in the face with a blaster rifle and thrown into the room, Squint, the Jedi who saved Zayne’s life on Taris at the beginning of the series, is dragged out of Demagol’s laboratory and deposited on the floor near her. Almost all his hair has fallen out from Demagol’s experiments, which is important. Jarael tries to explain to him how she’s not supposed to be there, but Demagol comes in and selects her for his next experiment. Sensing that Jarael is not a Jedi, Squint volunteers himself to go back under the knife in her place. Despite talking about how long he’s waited for fresh Jedi to study, Demagol agrees to have Squint taken back to his lab for some reason, even though he just finished with him thirty seconds ago.

The The Last Resort arrives on Flashpoint, with Rohlan convincing the Mandalorians to let him land by pretending that Zayne is a Jedi Knight he captured while Gryph and Camper hide in Han Solo’s secret smuggling compartment. Rohlan marches Zayne into the station just as Squint is dragged back out.

Jarael cradles the bleeding Jedi in her arms and they have some kind of moment I guess, then Demagol starts creepily running his hands through her hair and notices her pointed elf ears, not a baseline trait of her species. He excitedly orders that she be taken to his laboratory at once, but Rohlan comes in with Zayne and says “No do this guy first” and Demagol inexplicably goes “Yeah okay.”

Almost paradise.

Once the three of them are alone in Demagol’s lab, Rohlan clonks the mad scientist over the head with a femur that was just lying on the floor for some reason. Bone is apparently harder than Mandalorian armor, because Demagol instantly goes down. Zayne puts on his armor and helmet and they stash him in the closet, then walk out of the lab loudly discussing how it’s too bad that Zayne died so quickly. Jarael knocks the disguised Zayne to the floor and begins strangling him, but stops when she hears Zayne telepathically say her name, which means that she has the Force now I guess.

Rohlan and Zayne go outside just as the station’s guards receive a hologram transmission from Gryph, posing as an admiral aboard the Republic cruiser Glomkettle (his mother’s name). Since Flashpoint was once a Republic research station, he claims that when its former inhabitants were driven out by the Mandalorians, they left behind a series of booby-traps that he is now going to activate. Zayne uses telekinesis to surreptitiously plant mining charges around the compound, which Gryph then detonates from aboard the The Last Resort.

Fearing that Flashpoint’s shield is going to fail, leaving them to be cooked by the sun’s heat and radiation, the Mandalorians abandon the planet. Zayne runs back into the station on the pretext of saving his research and Rohlan goes after him, bidding the retreating warriors to tell Mandalore that he died nobly for their cause.

With the Mandalorians gone, Zayne outfits all the Jedi with spacesuits from the The Last Resort so they can breathe outside of the station. Rohlan drags an unconscious Demagol over to the Jedi so they can take him back to Coruscant as a prisoner, explaining that he had to knock him out again while putting his armor and mask back on him.

Zayne thanks Rohlan for all his help but tells him he should go with the Jedi. They’re going to blow up Flashpoint Station, so Mandalore will think he’s dead and he can get those answers he was looking for from Demagol. Rohlan stares across the courtyard at Jarael for a moment, then admits that Zayne’s right and boards the Jedi’s ship.

Zayne and Squint take a moment to catch up. Zayne tells him how the war has now broken out for real, and Squint invites him to come with them and be a part of his Master’s plan to defeat the Mandalorians. Zayne says no thanks.

Squint goes over to say goodbye to Jarael, because every guy in this story is obsessed with her. He tells her that Squint isn’t even his real name, and next time they meet she should call him Alek. Then he thanks her for giving him this sweet red spacesuit with an opaque red helmet, which coincidentally is what the figure in Zayne’s Masters’ prophecy of doom was wearing. Hmm, now who do we know from this era who’s a bald Jedi involved with the return of the Sith who dresses in red and whose name sounds something like “Alek”?

Could it be this guy?

Anyway, then Zayne, Jarael, Gryph, Camper, and Elbee get on the The Last Resort and Squint and the other Jedi get on their ship and they go their separate ways, but at the last second Rohlan jumps off the Jedi ship and sneaks back aboard the The Last Resort without anyone noticing, THE END.

Meditations

Flashpoint is one of the high points of this series. Maybe even the the high point, I won’t be sure until I’ve read all of it. It’s pretty good, though. It’s amazing what a difference Dustin Weaver’s art makes; it’s a perfect match for the tone and content of this series and I’m not looking forward to settling for less in the next arc.

For a long time the Mandalorian Wars were not that fleshed-out. Unlike most major galactic conflicts, which were created to serve as a setting for telling stories, the Mandalorian Wars were introduced as back story to a different war. Mostly we just heard about them from characters who were there, so it’s gratifying to see these events actually taking place on the page. Even though those who’ve already played Knights of the Old Republic know how all this is going to end, it’s still cool to see how the galaxy moves to that point.

Unlike Commencement, which started to drag after a while of essentially the same thing happening over and over while Zayne tried incompetently to clear his name, Flashpoint, being a mere three issues long, boasts much more condensed and therefore exciting storytelling. It produces a major shift for the galaxy as a whole with the advent of the true Mandalorian Wars while also providing a trajectory shift for Zayne’s story by introducing him and his crew of misfits into this macro conflict.

At the same time it deftly weaves in the introductions of important new characters like Demagol, Rohlan Dyre, Mandalore the Ultimate, and Saul Karath, as well as reintroducing Squint and setting him down his own path, while his mysterious Master’s machinations continue in the background. A pretty solid little comic, all in all.

4.5/5 Death Stars.