Cerberus

Our first mention of the mysterious Cerberus — a corporation? a research laboratory? — comes from an odd report included in a data dump at Feros. Cerberus has requested and received samples of the Thorian, it appears. When we check out the clue, an entire small colony has been turned into husks. Zombies, basically. They’re not much different from the Thorian Creepers that ExoGeni made.

Then Admiral Kahoku sends us to look for his missing soldiers. We find them dead on a planet. Someone set a beacon as a trap on top of a Thresher Maw nest. The giant sand worm, spitting acid, almost kills us in the Mako as we try to investigate the site. Cerberus, Kahoku angrily informs us, is an Alliance black ops organization. Did the soldiers get too close? Did Cerberus try to use them as experiments? It’s hard to tell. No one is held accountable, but Kahoku will pursue them anyway. 

After a desperate message from Kahoku, we go looking for him throughout three Cerberus research facilities on an isolated planet. The first holds Thorian Creepers. The second holds a swarm of just-hatched small Rachni. The third holds an adult Rachni standing over the dead body of Kahoku. When we kill it and attend to Kahoku’s corpse, we see that he hasn’t been mauled. Needle tracks line his arms. Because of his investigation they turned him into another Cerberus experiment, an attempt to fuse alien DNA with a human to create a super soldier. What a way to go.

Eventually we end up at a Cerberus facility with a data terminal. After we clear the bunker and leave, I’m contacted by an agent for the Shadow Broker, an information dealer. Kahoku had a deal with them; that’s how he found the Cerberus research base. Now the Shadow Broker would like the information I discovered. At this point there seems to be nothing in it for me. Maybe there will be a turnaround later. I give them the data, though, because Kahoku was a very sympathetic story.

(By the way, this is Ace Shepard. I created another biotic for a better run-n-gun style. Like Athena, she’s also a paragon.)

SEAN THORNTON, NINE

A professional boxer retired due to tragedy, Sean seeks retreat and peace. He’s an easy Nine.

The Quiet Man’s story is simple: Irish-American comes to the Old Country to settle and make a new life in his ancestral home. When he sees a lass tending sheep, he falls for her, makes “pattyfingers in the holy water” with her, and arranges to court her. Her belligerent brother keeps them apart over spite about the property, until he consents and later regrets it, holding his sister’s dowry after the marriage. Sean must eventually demand the money and make peace with his brother-in-law, which leads to a town-consuming brawl between the two of them. In the end they live happily ever after.

We hit a wall, though, when we get to the scene of him dragging his wife by the nape of her neck. Is something about this moment particularly Nine-ish? His avoidance of conflict — taking the brother’s verbal ridicule, watching his volatile wife demand her things about her — might lead to a man who’s had enough and overreacts as a result. If he’s driven to take action, though, just give him a different action to take. The key to this whole movie is the moment when Sean pursues his wife to the train station and returns with her to town.

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Noveria

A corporate world where anyone can do as they please as long as no other business is impeded, Noveria is Matriarch Benezia’s current location. She landed with heavy crates and a phalanx of Asari Commandos, and headed for a remote research site.

After negotiating the politics of the docking station, we finally get a garage pass and take the Mako out onto the mountain road. It’s a snowy planet under blizzard conditions, but the real danger is that Peak 15, Benezia’s destination, is under lockdown because of a biohazard containment breach.

Of course we must fight Geth. Benezia brought them in those mysterious crates. The surprise is what else we find: Rachni. This is a species thought extinct that now infests Peak 15. They’re a kind of giant scorpion thing with an alleged intelligence. Before we can confront the Matriarch, we must deal with the Rachni.

From a gameplay perspective, this mission has always been confusing. If I go into the hot labs too soon (which is what I mistakenly did with Tag) I lose a lot of side quests. If I meet Benezia first it’s easy to miss killing the Rachni in the hot lab. Ideally, I will settle with Benezia, kill the Rachni horde, and help the medical team as a side quest. The game doesn’t always help with getting me to every mission.

First, Benezia. She attacks us with her Asari Commandos and Geth, but when we defeat them we see that she resists Saren’s mind control. For a moment she has clarity and is repentant. From the Rachni (a species from another part of the galaxy) Saren has learned about the Mu Relay, a space location related to his pursuit of the Reapers. The Matriarch also gives us the coordinates, but where within the Relay we need to go is still a mystery.

Then Benezia, her control failing, attacks us and we must kill her. Tag didn’t take the daughter, but when Ace does we get a tiny, tender reunion. As Benezia dies she calls Liara “Little Wing”.

As we prepare to leave, a dead Asari on the ground rises up and starts to talk, mind-controlled by the Rachni queen in her glass cage. The queen argues gracefully that we should let her go. She is a sentient being, and who are we to commit genocide?

Well, this is Tag the renegade. She injects an acid bath into the box and kills the queen. It was quite easy for me to role play a disgust of mind-controlling beings (again) and their wants.

But, in wonderful replay-ability, I also took the chance to let Ace release the queen. Her talk of singing, of the color of sound the Rachni use to communicate, is beautifully written (even for a bug). It’s really a masterful scene of characters speaking of a history that we in this time barely know.

Regardless of decisions, either way Saren and Shepard now have the same information, and both of them seek specific coordinates within the Mu Relay to further their pursuit of the Conduit.

Feros

Rescuing Liara is designed as our first mission. It’s easy and short. After that we have our choice of two other missions, each much more complicated. I choose Feros, a human colony barely surviving under Geth assault. (We’ll take Noveria, the third mission, last.)

The colonists all work for the corporation ExoGeni. After we clear out the Geth in the residential section, we head across the skybridge to the work environment. It all seems straightforward, except some of the colonists act weird. They’re secretive and a little cult-like. Also, why are the Geth here? Something over at ExoGeni has attracted their (meaning, Saren’s) interest.

It doesn’t take long to get the story. ExoGeni is here to study an indigenous life form, the Thorian. It’s an immense, brain-controlling plant. (Gross.) The colonists have been unknowingly infected, living right on top of it. ExoGeni considers them guinea pigs, basically. Evil corporation, human lab experiments, the usual villainous plotline.

Remember, I have two Shepards, the renegade Tag and the paragon Athena. Tag wipes out all the colonists and double-taps the Asari mystic aligned with the Thorian. Athena is a more forgiving sort.

Before passing judgment on the Asari Shiala, though, we receive her information, the ultimate purpose of this location. She is an associate of Matriarch Benezia, following her into Saren’s service. The Asari thought to soften Saren, but instead he persuaded them to go against their nature. He has an enormous alien warship, Sovereign, that exerts a subtle but all-consuming mind control. Benezia no longer acts independently.

Meat with a gun, baby.

Shiala merged with the Thorian so Saren could communicate with it. Apparently, the Thorian predates the Protheans, so knowledge of them is stored in its memory. In order to understand the vision of the Beacon, Saren (and Shepard) need to think like a Prothean. Shiala’s biotic/magical connection allows that memory to be transferred. She did it for Saren, and she does it for Shepard, imparting another dream sequence of orange apocalyptic destruction.

It’s mission-critical, so we can’t say no. “Embrace eternity!” Shiala calls out before she invades our physical and mental space. This game really has a problem with personal boundaries.

MARY KATE DANAHER, FOUR

The Quiet Man still has a lot to love. The couple riding in the matchmaker’s cart and escaping into the Irish countryside is charming. When she shelters against his wet, white shirt, it’s one of the more romantic moments ever put on film. The beautiful horse race on the beach, the Playfairs jovially riding their two-person bicycle through town, Father Lonergan battling with his fishing — all wonderful to watch. I can (and do) quote Michaleen Flynn all day.

However, Mary Kate dragged by her husband through the fields nullifies everything else. I can’t say how that scene played in 1952, but today it’s offensive. 

When we strip away the baggage, this love story is simple. She’s a Four and he’s a Nine, a classic combination. She’s passionate and quick-tempered, having all the feelings for the both of them. He’s laid back, able to disengage from much that riles her. Perhaps as a Four, an open book to all of the village, one more degrading moment doesn’t shame her? Perhaps his display of feelings, no matter how ugly, reassures her of his love?

Nope, it’s all the language of abuse. It’s an unnecessary scene — the intent is quite clear without pulling a woman through sheep dung — that could be reworked, making a movie that is watchable today. I hate to see classic filmmaking consigned to the dustbin. John Ford made his choices, though, and today’s audience will judge accordingly.

First Station: Jesus is condemned to death

3″ x 3″ on wallboard

I’ve decided that my Lenten observance this year will be encaustic paintings of the Stations of the Cross. Every Friday I will post a piece I started at the beginning of the week, contemplating on the Mystery. These will be WIPs that I will continue to develop throughout Lent. On Good Friday I’ll post an update on where the pieces finished.

Or, at least, that’s the plan now, at the beginning of Lent. Sometimes (well, every year, actually) what I think Lent will be and what Lent ends up being are different things.

Ash Wednesday, 2022

This is a WIP, a devotional of Our Lady using rose petals surrounding a high school portrait of my mother. (The great artists all portrayed Mary as the most beautiful woman they could imagine, so I’m allowed to use Mom.) In the spirit of the beginning of Lent, this piece is unfinished. In Holy Week I’ll post the update and we’ll see where the journey took me.

Farewell to Gazes

6″ x 6″ on wallboard

My beloved main toon on the PS EU server, Gazes-at-Shoes, is retiring. Because of technical issues, I no longer play The Elder Scrolls Online on PlayStation, only on PC. She looks somewhat fierce here, but she was always a sweetheart and a joy to game. My new toon wouldn’t be half as fun if I hadn’t learned it all first with Gazes.

No Bonnie waits to take my toy. The digital world, imbued with just as many tea parties and heroic adventures as Andy’s room, isn’t suited for introducing a plaything to the next generation. My first Barbie doll in the early 1970s would look, except for cosmetic differences, like a Barbie of today. Gaming moves too fast, though, for that. Not only do hardware and programming advance, but human reflexes and multi-tasking abilities become more sophisticated. I like the next shiny as much as anyone. Therefore, my girl is gone, an old file in a junked console. The friends I made through her, real people inhabiting a virtual screen, are left behind, too.

Lol, well, this turned into more of an elegy than I expected! Gazes lives in the cloud, so any time I renew my subscriptions and find a PlayStation with the proper software, I can see her again. It won’t happen, though. I’ve moved on.