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Wonder Woman, Jane Got a Gun, and Ghost in the Shell
From left: “Wonder Woman”, starring Gal Gadot, “Jane Got a Gun”, starring Natalie Portman, and “Ghost in the Shell”, starring Scarlett Johansson

Have you heard? Feminists and superhero fans have been getting anxious about the relative lack of promotion for the upcoming Wonder Woman film, starring Gal Gadot and directed by Patty Jenkins. They are concerned that it is going to suffer the same fate as recent DC Comics films have, and be cast as second-rate superheroes in comparison to Marvel’s string of successes.

I’ve been following the fortunes of the Wonder Woman film for a while now, and I also noticed this lack of publicity.  It registered with me because it fit into a pattern I’ve seen before.

My favorite movie of all time, Jane Got a Gun, was another film whose marketing campaign I watched closely. The Weinstein Co.’s promotional efforts for it were abysmal–I think I saw one trailer for it, and it made the movie look like an action/adventure flick when in fact it was a romantic drama. (Even the title is kind of misleading. They should have called it Jane Ballard.)

Jane Got a Gun had an infamously turmoil-filled production, and apparently the Weinstein Co. based its decision on the film’s history, rather than the finished product. (It’s usually a mistake to focus on process over results.) As such, they didn’t put much effort into promoting it, and didn’t hold advance screenings for critics.  As a result, few people heard of it, and it fared poorly at the box office.

This isn’t the only recent example of a film getting hamstrung by bad marketing.  Ghost in the Shell was a big-budget sci-fi picture with a strong story, and it flopped badly at the U.S. box office.

Unlike the case of Jane, the studio could never be accused of not spending resources promoting Ghost. Paramount even bought a Super Bowl ad for it.  But it was hit with an intense negative buzz, in which people accused it of “whitewashing” because of the decision to cast Scarlett Johansson as the lead character, Major Killian.

This accusation is obviously nonsense to anyone who bothers to watch the film. Major Killian is a cyborg–a human brain housed in a machine.  True, she was originally a Japanese woman, but the entire premise of the film is that her mind and consciousness are transferred to an artificial body.

And yet the accusation of whitewashing persisted, and undoubtedly contributed to negative press surrounding the film. Which is too bad, because while it was not a great film, it was certainly one of the better sci-fi movies I’ve seen in recent years. It was far better than the highly-successful blockbuster The Force Awakens, for example.

This is why what’s happening with Wonder Woman doesn’t surprise me too much.  I have, as they say, seen this movie before. But like Ian Fleming wrote, “Once is happenstance, twice is coincidence, the third time it’s enemy action.” At this point, I have to think this is part of some pattern.

So what’s the common thread?

While they are all very different films, Jane Got a Gun, Ghost in the Shell and Wonder Woman do have a few shared characteristics.  Most obviously, they all feature female protagonists.  They also are all categorized as action films. (Although Jane probably shouldn’t have been).

Is Hollywood deliberately sabotaging female-led action films? That seems crazy, since the easiest way for studios to prevent such films from succeeding would be to… not make them in the first place.

Let us, like Woodward and Bernstein before us, “follow the money”.

One thing to look at is the studios producing the movies: Warner Bros. is handling Wonder Woman, because they own DC Comics.  As I mentioned earlier, DC has been in competition with Marvel on superhero movies, and they have been losing.

Marvel is owned by Disney, which acquired it in 2009.

It so happens Disney also originally had a deal with Dreamworks to release Ghost in the Shell, but it was terminated in 2016, and the movie was released through Paramount instead.

Jane Got a Gun is the clear outlier here–the Weinstein Co. isn’t on anything like the same scale as Disney, Warner Bros. et al.  Also, Jane was rated “R” whereas the rest of these are “PG-13”.  So, presumably it had a much smaller marketing budget at the outset.

The key point is that all three of these movies are released by companies that aren’t Disney.

This is most significant for Wonder Woman, because of the ongoing DC/Marvel battle, which is really a proxy war between Warner Bros. and Disney.  And Disney has been winning it.

Part of the reason I brought up The Force Awakens to contrast with Ghost in the Shell  was because it got way more positive press despite being an inferior film.  But of course, Force Awakens was made by Lucasfilm, which since 2012 is owned by… Disney.

The upshot is that I think Disney is way better at promoting their movies than most of the other studios are.  Even when Disney has something sub-par, they can generate enough positive buzz about it to get people to buy tickets.

It’s important to understand what promotion really entails.  It’s more than just advertisements on television and the internet.  It’s more even than tie-ins, and red carpet events, and sending the cast and crew on talk shows.

It has to do with how PR firms work.  They feed stories to industry journalists to create a buzz around their clients’ products. (Read this marvelous essay by Paul Graham for an in-depth description of this process.)

My impression is that Disney–or perhaps the PR firm they hired–does a vastly better job of promotion compared to the other studios.  They have a much higher success at generating positive buzz for whatever they are releasing next.

Now, to some extent, there is bound to be a “crowding-out” effect. If Disney can internally do better PR, or if they can pay more to get it, it leaves less room for other non-Disney productions to get good PR.

And of course, none of this has anything to do with the actual quality of the movie in question.  (Indeed, I often wonder just how many movie reviews are influenced more by the PR campaign surrounding the film than by the film itself.)

In my review of The Force Awakens, I concluded by saying:

“[W]hy do so many people like The Force Awakens?  I don’t know–maybe it’s the same reason so many people like Donald Trump: both are loud, in-your-face, and have so much money backing them that they won’t go away.”

The comparison actually runs a bit deeper than that.  Trump, whatever else you want to say about him, is great at promotion.  He is like a one-man PR firm in terms of his ability to draw an audience for whatever he is peddling.

Disney, or whoever is handling PR and marketing for their movies, has a similar level of promotional skill.  And the other movie studios are unable to match it.

I think there is also something of an escalation going on, in that the more Disney hypes their releases, the more the other studios are then going to be expected to do to hype theirs. Expectations for marketing campaigns get higher and higher, and when studios fail to meet them, people don’t go to see their movies.

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I posted an excerpt from this last year.  Lately, another bit of it has been running through my head.  It was my G&S-ified depiction of the scene where Palpatine declares himself Emperor, set to the tune of Ludwig’s song, “A Monarch Who Boasts Intellectual Graces” from The Grand Duke. (Note that throughout, “republican” and “democratic” are used in the general sense of political concepts, not the present-day parties in our own galaxy.)

Enjoy!

****

PALPATINE:

Oh, the Chancellor who uses emergency powers

Will gain, if he’s smart, a good deal of support.

      He can speak to opponents without getting glowers

 And won’t have any need to lie or distort–

You know, I am sure, in these perilous hours,

That though a sep’ratist danger still towers

And threatens this Senate of ours,

  I know of a plan that will make ‘em abort!

Oh! My motto is “safety;” I’m not a daredevil,

And while I rule here, we will all be secure.

With a powerful Emp’ror, who’s quite on the level,

Republican principle may long endure!

CHORUS:  

Oh! His motto etc.

PALPATINE:

When rule democratic simply fails to succeed;

And Congressional meetings are just a mess–

An Emperor clearly’s the thing that you need

To at once set ev’rything right in Congress!

With no more long meetings progress to impede,

Improvements extreme we can make with all speed,

It’s easy to do, and I will do the deed—

              It’s done! And here’s to our having continued success!

 Oh! Our Galaxy nearly had gone to the Devil,

But I thankfully happened to know of a cure–

With a powerful etc.

CHORUS:   

Oh! Our Galaxy etc.

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About ten years ago, I wrote a comic opera adaptation of the Star Wars movies, with songs set to Gilbert and Sullivan tunes. It was just an exercise in songwriting that I did for fun, but it definitely helped me learn how to write a decent rhyme.

Re-reading it now, I see most of my lyrics were pretty bad–although to be fair to myself, few lyricists can ever hope to match the great W.S. Gilbert.

But there were a few songs I wrote that were pretty decent.  For instance, this adaptation of the meadow scene from Attack of the Clones, in which Anakin explains his dictatorial political philosophy to Padme. It’s set to the tune of “Were I a King” from The Grand Duke.

ANAKIN: Were I in charge, in very truth,
And yet had kept my health and youth,
In spite of my ascension;
To keep us peaceful, keep us strong–
And make these blessings last for long–
I would request the voting throng
All their concerns to mention.
To some big council they would go
And voice with elocution,
Their little problems all, and lo!
They would find a solution!

The men who would be to this council elected,
Would all by popular vote be selected–
And if they all did what they said on campaign,
They could run for office again!

CHORUS:    Oh, the men who would be etc.

ANAKIN: And if councilmen should disagree
The problem would then come to me–
And I’d make the decision!
One side may say to “Cut the tax!”
The other says “Prevent attacks!”–
Unlike our current plan that lacks
An executive with vision–
Both sides would have to go to me,
And I’d make ’em see reason!
And if they still would disagree–
I’d have them shot for treason!

Oh, the man who can mold a political sphere
Completely bereft of corruption or fear,
Can govern and rule, with of his brains a tenth
Intelligent life–and possibly Ennth!

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A long, long time ago, I wrote about Ian Doescher’s delightful book The Empire Striketh Back–a re-imagining of the Star Wars film as though written by William Shakespeare.

Well, I recently learned that Doescher also wrote more of these books for the prequel trilogy.  As my readers know, I like the prequel trilogy very much, but there’s no denying it has a weak script that undercuts its other strengths. This is especially true of Attack of the Clones.

Doescher’s treatment fixes these problems. Most notably, it fixes the character of Anakin Skywalker.  In Doescher’s version, Skywalker seems like he actually cares about Padme Amidala.  This really helps the romance between them. (I know, you would think this would be obvious, but apparently it wasn’t to Lucas.)

That’s not the only improvement–all of the dialogue is much better when done in the style of the Bard.

The irony is that Lucas has always defended his awkward script by calling it “stylized dialogue”.  Well, Doescher’s dialogue is even more stylized; but what’s more is that it’s good. It trips off the tongue.

What Lucas should have done was give his story outline–which is very strong, with its political machinations, epic battles, and forbidden romance–to Doescher or someone like him, who could give it a fittingly poetic script to match.  Then maybe put the exceptionally talented cast under the direction of a Shakespearean director (say, Sir Kenneth Branagh?) and they would have really had something.  It would have been stunning.

The prequels are not bad–they just needed a better script.

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Quick! Name that movie about a pilot who gets horribly burned and disfigured. You know, the one where earlier in the story, he’s been trying to save the life of his secret lover. In fact, he’s so desperate that he turns traitor and aids a tyrannical, militaristic government. But even so, he fails–his lover dies, and he becomes a barely-living shell of his former self.

Got it yet?

Actually–as you already guessed from the title of this post–that describes two movies: The English Patient, starring Ralph Fiennes, Kristin Scott Thomas and Juliette Binoche, and Star Wars Episode III: Revenge of the Sith, starring Ewan McGregor, Natalie Portman and Hayden Christensen.

The English Patient was nominated for 12 academy awards, including best picture, which it won. It’s considered a powerful, moving, tragic love story. Revenge of the Sith was a box office hit, but was generally received poorly by critics. The Devil is in the details.

The English Patient (1996)
The English Patient (1996)
Revenge of the Sith (2005)
Revenge of the Sith (2005)

Actually, in this case, the Devil is in how the main character is written and performed. Count Almasy, the lead in The English Patient, is just likable enough that while you don’t exactly forgive him for giving aid to the Nazis, you can believe he truly did it out of his love for Katherine. He really seems like he cares about her. Add to this Ralph Fiennes’s charisma and acting skill, and you have a compelling doomed romance.

Anakin Skywalker, on the other hand, is an entitled jerk from his first scene to his last. He constantly whines about why he hasn’t been given privileges that he has not earned, while simultaneously breaking every Jedi rule. Even his supposed love for Padme never seems like anything other than an excuse to commit further atrocities. He claims to be trying to save her (“from [his] nightmares”), but ultimately kills her himself because of his inability to control his arrogance and rage.

Now, I’ve left out quite a few differences between the two movies. The English Patient is told through flashbacks, and there is another plot running through it parallel to the story of Almasy: the story of Hana, the nurse who finds him after he’s been burned, and her own struggle to deal with the horror of war and death. The only other plot element in Revenge of the Sith is about an evil robot General with four arms. So maybe the main character isn’t the only issue here.

Even so, I still think there is a really strong story in Revenge of the Sith. You can see it whenever McGregor, Portman or Ian McDiarmid are on the screen. It’s just that it kept getting undercut by the massive problems with the way Anakin Skywalker is written and portrayed. (Once he becomes pure evil in the final third of the movie, it really comes together. This is probably because Christensen was better at playing evil, and an evil character is easier to write than a complex one.)

Ralph Fiennes in “The English Patient”
Hayden Christensen in “Revenge of the Sith”

The bottom line is: when Count Almasy gets burned alive, you think: “poor guy, he just wanted to help the woman he loved.” When Anakin Skywalker gets burned alive, you think: “the S.O.B. had it coming.”

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This time of year is always important for the video game industry, as they move their products into stores for the coming holiday rush.  Games have become one of the most successful forms of popular entertainment, with recent years seeing multi-million dollar launch events that break records once belonging to Hollywood.  Early December is the peak time of year for selling the latest installments in hit franchises to loyal fans.

10 years ago today, the sequel to 2003’s Game Of The Year was released.  And not only was it a sequel to an award-winning instant classic; it was set in the Star Wars universe; George Lucas’s billion-dollar space-faring fantasy whose allure has captivated generations.  Small wonder, with such a pedigree and promise, that LucasArts was eager to ensure it was released in time for the Christmas shoppers–they wanted to be sure to get everything they could out of this highly-anticipated title.

This eagerness caused them to encourage Obsidian Entertainment to push the release of the game forward, even if it meant not having time to finish the ending as originally planned.  The result was that the game, though eagerly bought up by thousands of fans, did not receive quite the same delighted reviews as its predecessor; that it was criticized as incomplete, or incoherent.  Its last few hours in particular were perceived as a rushed muddle of action sequences that arrived at a confusing and unsatisfying conclusion.

And so with this moderate, but not spectacular, success behind it, the “Old Republic” franchise moved on; to be resurrected again, briefly, first as a book and then as an MMORPG to go to war against World of Warcraft–a war which, like the Mandalorian Wars that form the background of KotOR II, is a futile and depressing effort from which no combatant ever returns victorious.

Obsidian Entertainment has moved on as well, most notably to the retro-futuristic Mojave wasteland of Fallout: New Vegas.  Both developer and franchise have gone their separate ways; and though talk of another Obsidian-made Star Wars game surfaces now and again, it seems likely that, given Disney’s purchase of the galaxy far, far away, the darker and more mature tones Obsidian always brings to their stories may not be as welcome.

So what to make of Knights of the Old Republic II, ten years later? Now that the Star Wars film series has been ended and revived yet again, now that Mass Effect, BioWare’s spiritual successor to KotOR I, has run its course, and left its original fans as bitter as Star Wars fans dismayed at the prequel trilogy; where does that leave Obsidian’s strangely rough, brooding tale of the exiled Jedi who travels the galaxy not to defeat an Empire or rescue a princess, but to come to terms with the effects of war on the human psyche?

In spite of the name, canonical Star Wars has rarely been about war. The original film series depicts an insurrection against a tyrannical empire; but this occurs largely in a couple of battles–primarily, the story is about the Skywalker family.  The prequels deal with the run-up to a war in the first two films, and the end of that war in the third, but Lucas shunted the details of the war into comic books.  (A few of which were written by KotOR II creative lead, Chris Avellone.)

The Sith Lords, though, is very much about war, though not in the shallow sense of being a Call of Duty clone with a Star Wars coat of paint. KotOR II is about war in the way that The Deer Hunter is about war–it is exploring the mental and spiritual toll that war takes on everyone it touches.  Or, as Kreia tells the Exile early in the game: “You are the battlefield. And if you fall, the death of the Republic will be such a quiet thing, a whisper, that shall herald the darkness to come.”

Kreia is always the focal point for any discussion of Knights of the Old Republic II, and even the game’s detractors will usually admit that she is one of the greatest characters in the history of video games.  A mysterious old woman, allied neither with the Jedi nor the Sith, yet overwhelmingly knowledgeable about both, she at once fits the Star Wars tradition of the Wise Mentor and violates it utterly. She is a gadfly in the Star Wars universe, questioning everyone and everything; and by the end, the player comes to understand that her rebellion is against the Force itself; the mysterious metaphysical “energy field” which most characters accept with a (sometimes literal) hand-wave, but which she attempts to understand and destroy. Many players find it immensely satisfying to see this brown-cloaked Nietzsche slicing through the pop-philosophy of Lucas’s universe.

Kreia’s occasionally harsh criticism of the player’s actions are emblematic of one of KotOR II‘s distinctive features: namely, that it is not necessarily meant to make the player feel good.  In literature, film and television, it is common for a story to leave the audience sad, or contemplative, or shocked.  But games are meant to entertain; and to write one that does not simply laud the player for their victories over ever more powerful foes, but instead compels them to think about what they are doing–to think of, as Zez Kai-Ell says in the game’s pivotal scene, “all the death you caused to get here”–was a bold move, indeed.

In this way, KotOR II is the forerunner of another one of the most fascinating games released in recent years–2012’s Spec Ops: The Line. Though different in style and in tone, (not to mention that SO:TL is far more polished and graphically advanced) Yager’s dark satire of military shoot-’em-ups is at its core the same tale as KotOR II: that of a soldier who commits an atrocity and is forced to face the consequences.

But while Spec Ops is a sharp, tightly-plotted tale with every element integrated into its gripping narrative, KotOR II is less minutely-engineered, and more filled with oddities and curious plot threads which lead in unexpected directions–or sometimes nowhere at all, thanks to the content having been cut at the eleventh hour.  While this makes the game seem less focused and at times even hard to follow, it also lends it a certain feeling of scope; an epic, vast implied scale that even next-generation open-world RPGs have not matched.  There is a hauntingly depressing quality to the sprawling modules of Citadel station, of gloomy isolation to the corridors of Peragus, and of melancholic splendor to the partially restored surface of Telos, that creates a peculiarly memorable and powerful mood.

Of course, it’s impossible to talk about KotOR II‘s plot threads without also discussing The Sith Lords Restoration Project–the fan-made effort to restore the cut content.  While interesting in its own right, and a must-play for any fan of the game, the restored content ultimately raises more questions than it answers. Some of it really is integral to the story, but other parts are relevant only as curiosities, and serve only to add unnecessary complications to the game’s already complex plot.

But even with the missing pieces restored, insofar as possible, KotOR II remains a very odd, misfit game–an exile, like its enigmatic, war-worn protagonist. If the original KotOR was an effort at making a playable version of the summer swashbuckling blockbuster epic that Star Wars helped revive, then KotOR II was an attempt at making a playable version of a more mature, David Lean-ish kind of epic. It is not designed for commercial success and records, but for critical success and acclaim. It is Oscar Bait in a medium that does not receive Oscars.

It is possible that being part of such a widely recognized franchise hurt its chances among the very people most likely to appreciate its many virtues.  Critics searching for video games that prove the medium is a mature art form, not merely an entertaining diversion, can be too quick to dismiss a “mainstream” game in search of something more unusual.  And few entertainment franchises show a more striking disparity between their commercial success and their reputation among critics than Star Wars.

In spite of its less-than-universal acclaim, though, KotOR II has not been completely forgotten by gamers.  In 2010, it was included in the book 1001 Video Games You Must Play Before You Die. Kreia still frequently appears on lists like “best video game characters” and “best female antagonists in video games”.  But it has not been considered particularly “influential”, either; certainly, it has not become a household name like, for example, Valve’s Half-Life 2, released three weeks earlier.

Much of the plot of Knights of the Old Republic II is concerned with finding that which has been lost–be it knowledge, people, or places.  As Kreia explains at the end, the real “lost Jedi” the Exile has been searching for have been there all along–“they simply needed a leader and a teacher”.  Similarly, the nightmarish planet of Malachor V–the site of the pivotal battle that is at the heart of the game’s entire plot–had been forgotten by the Sith Lords of times past, before being rediscovered in the Mandalorian Wars and spawning the innumerable stories of victory, heroism, defeat, death and horror that the Jedi Exile encounters on the journey across the galaxy.

And so it is fitting, as the medium matures and gamers and game critics cast about for evidence to prove its legitimacy as an art form, Star Wars: Knights of the Old Republic II: The Sith Lords sits quietly on the fringes of the game universe like Malachor V; not at the center of attention, perhaps, but still well remembered by all who have seen it firsthand.

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I received an absolutely wonderful book as a gift from a friend today.  It is called The Empire Striketh Back, a re-telling of the story of Star Wars: The Empire Strikes Back as if it were written by William Shakespeare.  It is actually written by Ian Doescher, and I must say he did a marvelous job translating the film’s script into the language of the Bard.

There are so many things to love about this–it had me hooked from the “Dramatis Personae” page, done perfectly in the style of the plays.  And then the language–well! Let me quote a little bit of the first scene, just to give you an idea:

LUKE:  If flurries be the food of quests, snow on,

Belike upon this Hoth, this barren rock,

My next adventure waits.

It is really quite splendid.  Probably would have made the movies better if Lucas’s rather awkward dialogue had been re-written this way. I highly recommend it to anyone who has seen the movie (and who hasn’t?) I haven’t enjoyed a parody of Great Literature this much since reading The Classics Reclassified. I highly recommend it.

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The great thing about Knights of the Old Republic II, my favorite video game–heck, my favorite work of fiction–is that the fact that each character is crucial to the major thematic points of the game:

  •  Atton alludes to the last Jedi he kills telling him of a place where Force sensitives are sent by Revan to be broken. This is almost certainly Malachor V.
  • Mira lost her family as a result of the battle, and that is why she became a Bounty Hunter. The Exile’s actions at Malachor shaped her in this way. As Mira says “There’s a lot of lost people out there. Scattered ever since the Mandalorian Wars… if I can find them, maybe, just maybe I can put the Galaxy back together.”
  • HK-47 says that, as result of the destruction at Malachor, Revan was inspired to build him. So, as he puts it, perhaps the Exile is responsible for his creation.
  • Visas’s homeworld was destroyed by Nihilus, who was created by Malachor, and whose fleet was hauled from it. This act has clearly left deep physical and psychological scars on Visas.
  • Yusanis fathered the handmaiden with the Jedi Arren Kae, and he went with her into the Mandalorian Wars, breaking his vow to his wife. This act shames the Handmaiden. Kae (apparently) died at Malachor; making Yusanis enter politics and eventually get assassinated by Revan. He may have been at Malachor, and was obviously deeply affected by the war, hence Brianna’s interest in the Exile, who is the first person she has known since her father who suffered the effects of the war, and her loyalty to Atris, which is to make up for the shame her father’s infidelity brought upon her.
  • Bao-Dur has feelings of guilt about Malachor that made him come to Telos to aid the recovery. He also lost his arm at Malachor. He still harbors feelings of guilt for creating and using the Mass Shadow Generator.
  • Mical the Disciple was turned to his path of “historian and scientist” by the decision of the Exile to go to war, when he was not chosen as a Padawan.
  • The Mandalorians were badly beaten in the battle, necessitating Canderous Ordo (who was also at Malachor) to take up the mantle of Mandalore and reunite the clans on Dxun.
  • G0-T0 exists for the purpose of rebuilding the galaxy from the war.
  • Even the psychotic Hanharr has heard of Malachor. As he asks the Exile: “Did you hear [the Jedi] scream as you butchered the Mandalorian tribes? Did you… kill your heart to shut them out?”

From this alone, we can see that most of the Exile’s party members would not be here were it not for the Exile’s fateful decision at Malachor. But that’s not all…

  • Atris was clearly very close to the Exile in the past, and was affected deeply by her decision to go to war, as well as the resulting horror of the battle of Malachor. This clearly has deep psychological effects on her, possibly contributing to her fall to the Dark side.
  • Darth Nihilus, the closest thing the story has to an out-and-out villain, is at least partially a creation of Malachor. He is often described the most powerful entity in the game, with his presence being felt everywhere, by everyone from Kreia to the Jedi to GO-TO to General Vaklu. (Some players complain that Nihilus is too easy to defeat in combat, after his buildup. This might have been the point, however–too everyone else, he is an unstoppable force of nature; to the Jedi Exile, he’s a pushover)
  • In the game’s pivotal scene, when the Exile returns to the Jedi Enclave to meet/fight the remaining Jedi, it is revealed the s/he was also deeply affected by that last battle, and forced to cut his/herself off from the Force to survive.

All this is certainly enough to prove that indeed the ramifications of the Exile’s choice at Malachor are the central point of the game. It requires many playthroughs to find them all, but the case is overwhelming. But then, in a final masterstroke we are shown other, similar decisions and their consequences play out before us, that allow us to piece together the ultimate theme of the story:

  • The destruction of Peragus serves as an effective opening, because it reminds the Exile, subconsciously, of the annihilation of Malachor. Furthermore, Atris, Lieutenant Grenn, the Ithorians, Colonel Tobin, GO-TO and others all comment on how the lack of fuel will harm Citadel Station. Thus, Exile must come to grips with the “echo” of the destruction of Peragus. This, the game hints, is the first time the Exile has ever truly had to confront the consequences of his/her actions. Thus, by the time she leaves Telos, the Exile has seen or been told of the consequences of two of the more remarkable acts in her life, and Atris even compares the destruction of Peragus to that of Malachor.
  • The scene in which the Exile chooses either to help or furiously dismiss the beggar on Nar Shaddaa is key. Kreia allows the Exile a glimpse at the consequences of his/her choice, and reveals that it is not always as clear-cut as it may appear.
  • Nar Shaddaa is home to refugees from both wars.
  • Dantooine was badly damaged as a result of the Jedi Civil War, which was itself a result of the Mandalorian Wars.
  • Onderon is relatively unaffected by the actions of the Exile prior to the game (though s/he fought on Dxun) but the Onderonian debate between secession and isolation and remaining in the Republic bears a close resemblance to the Exile’s choice of whether to close his/herself off from the Force or to embrace it.
  • Telos presents the Exile with an opportunity for redemption, in the form of whether to help the war-ravaged planet recover, or not. (Though, as we will see, the way to do that isn’t as black and white as it seems.) More immediately, in the game’s final act, the Exile is called upon to save Telos from Darth Nihilus. This episode is particularly ingenious, as forces from Onderon and Dantooine arrive to help the Exile, who wouldn’t have done so otherwise.
  • Of course the recovery efforts on Telos and the Political Situation on Onderon are also interdependent, as the Ithorians are repopulating Telos with the Onderonian’s and Dxun’s beasts.
  • Korriban presents the Exile with the cave, where s/he must confront the pivotal moments in her past, and reflect on whether s/he would do things differently.
  • The Ubese warriors in Visquis’s lair are bitter about the bombing the Republic wrought against them in the war, and have thus been made into “weapons”, as Visquis says. This foreshadows the creation of the Sith Lord Nihilus and his hordes by the activation of the Mass Shadow Generator, as well as Revan’s ultimate plan.
  • Visas, like the Exile, has, as Sion puts it “kept living while the Universe dies” around her. She has seen a planet destroyed, and it has affected her tremendously. (Of course, her planet wouldn’t have been destroyed if… see above.)
  • The impact of the destruction and subsequent restoration of Telos is seen in many facets of the game, from the separation of Aiada and Lootra on Nar Shaddaa, to the beast rider whose Boma escapes outside of Iziz, to the oft-repeated need for fuel for Citadel Station by everyone from Lt. Grenn to Atris to Col. Tobin, show the echoes of Saul Karath’s attack.
  • Telos is again threatened towards the end of the game in the battle against Lord Nihilus, and here again, the Exile sees the consequences of his/her decisions (Peragus, Dantooine, Onderon and Malachor) play out.

The entire game builds, subtly yet relentlessly, into an awesome thematic experience that shows all the consequences of Malachor, of Peragus, of Telos, of the Mandalorian Wars and ultimately, as Kreia says: “of all wars, of all tragedies that scream across the galaxy.” Again and again, consequences of actions are shown, leading up to the last planet, where the Exile must walk upon the dead planet of Malachor, and culminating in the ending scene, in which Kreia tells the Exile how his/her choices will impact the planets and people s/he has met throughout the journey. This works well, because the player has already seen the consequences of past choices throughout the game.

But the true genius is not only that the theme is so brilliantly and so pervasively intertwined with the story, but also that it does not carry any judgment. Things may be called “light” and “dark” by characters, but the player can make their own decision. Is the “independence” of Gen. Vaklu or the “cooperation” of Queen Talia better for Onderon? The pragmatic Czerka  Corp. or the more spiritual Ithorians better for Telos? And the central question of the game: was the destruction of Malachor justified? It killed many, and ruined the lives of many more. On the other hand, would not countless more have died if the war had not ended, as the Exile can argue? And anyway, if not for Malachor, Mira, Atton, Bao-Dur, Mandalore, Brianna and Visas would not be around to help the Exile on the journey. And perhaps the most widely asked question: Is Kreia a Jedi or a Sith, good or evil?  It must be played through many times, and the player must make many different choices, but the game’s theme remains awesomely consistent no matter how the game is played.

People complain about the game’s ending, but frankly, I found it perfectly coherent and satisfying, once I understood all these concepts. It’s actually one of the best endings I’ve ever seen in a video game.

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Ok, so I lied a bit when I said no football stuff for a few months.  But really, these are so cool. Check them out. The “Yavin Rebels” one is my favorite

I admit, I’ve always been fascinated by football helmet and uniform design.  In my opinion, this is the best football helmet and uniform design ever.  Interestingly, it was also the very first.

 

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Well, we heard the big guns roar behind the battle line;

Every member of the Corps, by our officer’s design,

Affixed his bayonet to his trusty laser gun.

The order, as of yet, had not come to anyone,

But we knew we’d have to charge at the foemen’s barricade,

So, in battle armor large, in a phalanx we arrayed.

Our satellites looked down at the enemy’s artillery

Which was set up in a town that our cavalry would pillory.

The UAV’s report went directly to the Colonel

(Who was resting in the Fort, with an injury internal)

The plan that he devised had been centuries rehearsed,

It would have been recognized by Napoleon the First.

But for every gee-whiz gadget, and with all of our  technology—

The upper management has yet to send us an apology.

The strategies they made were completely obsolete

And so our whole brigade met a horrible defeat.

All our battle droids broke ranks, and we knew our fate was sealed–

So we took our hover tanks and retired from the field.

(more…)