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Mass Effect Retribution, a review

Mass Effect Retribution is the third book in the official Mass Effect trilogy by author Drew Karpyshyn, who happens to also be Lead Writer for Mass Effect 1 and Mass Effect 2.

I didn’t expect to pick it up, because to be very honest I didn’t expect to like it. 9 years ago I borrowed Mass Effect Revelations, and I still recall the experience as underwhelming. But this fateful fall of 2020 I had money (yay) and I saw the novel on the shelf of a swedish nerd store. I guess guilt motivated me to give the author another try: guilt, because I’ve been writing a Mass Effect fanfiction for an ungodly amount of years and I’ve been deathly afraid of lore that might contradict my decisions ever since I started -but I knew this book covered elements that are core to plot elements of my story, and I was willing to let my anxiety to the door and see what was up.

Disclaimer: I didn’t reread Mass Effect Revelation before plunging into this read, and entirely skipped Ascension. So anything in relation to character introduction and continuity will have to be skipped.

Back-cover pitch (the official, unbiased, long one)

Humanity has reached the stars, joining the vast galactic community of alien species. But beyond the fringes of explored space lurk the Reapers, a race of sentient starships bent on “harvesting” the galaxy’s organic species for their own dark purpose. The Illusive Man, leader of the pro-human black ops group Cerberus, is one of the few who know the truth about the Reapers. To ensure humanity’s survival, he launches a desperate plan to uncover the enemy’s strengths—and weaknesses—by studying someone implanted with modified Reaper technology. He knows the perfect subject for his horrific experiments: former Cerberus operative Paul Grayson, who wrested his daughter from the cabal’s control with the help of Ascension project director Kahlee Sanders. But when Kahlee learns that Grayson is missing, she turns to the only person she can trust: Alliance war hero Captain David Anderson. Together they set out to find the secret Cerberus facility where Grayson is being held. But they aren’t the only ones after him. And time is running out. As the experiments continue, the sinister Reaper technology twists Grayson’s mind. The insidious whispers grow ever stronger in his head, threatening to take over his very identity and unleash the Reapers on an unsuspecting galaxy. This novel is based on a Mature-rated video game.

Global opinion (TL;DR)

I came in hoping to be positively surprised and learn a thing or two about Reapers, about Cerberus and about Aria T’loak. I wasn’t, and I didn’t learn much. What I did learn was how cool ideas can get wasted by the very nature of game novelization, as the defects are not singular to this novel but quite widespread in this genre, and how annoyed I can get at an overuse of dialogue tags. The pacing is good and the narrative structure alright: everything else poked me in the wrong spots and rubbed how the series have always handled violence on my face with cruder examples. If I was on Good Reads, I’d probably give it something like 2 stars, for the pacing, some of the ideas, and my general sympathy for the IP novel struggle.

The indepth review continue past this point, just know there will be spoilers for the series, the Omega DLC which is often relevant, and the book itself!

What I enjoyed

Drew Karpyshyn is competent in narrative structure, and that does a lot for the pacing. Things rarely drag, and we get from one event to the next seamlessly. I’m not surprised this is one of the book’s qualities, as it comes from the craft of a game writer: pacing and efficiency are mandatory skills in this field. I would have preferred a clearer breaking point perhaps, but otherwise it’s a nice little ride that doesn’t ask a lot of effort from you (I was never tempted to DNF the book because it was so easy to read).

This book is packed with intringuing ideas -from venturing in the mind of the Illusive Man to assist, from the point of view of the victim, to Grayson’s biological transformation and assimilation into the Reaper hivemind, we get plenty to be excited for. I was personally intrigued about Liselle, Aria T’loak’s secret daughter, and eager to get a glimpse at the mind of the Queen Herself -also about how her collaboration with Cerberus came to be. Too bad none of these ideas go anywhere nor are being dealt with in an interesting way!!! But the concepts themselves were very good, so props for setting up interesting premices.

Pain is generally well described. It gets the job done.

I liked Sanak, the batarian that works as a second to Aria. He’s not very well characterized and everyone thinks he’s dumb (rise up for our national himbo), even though he reads almost smarter than her on multiple occasions, but I was happy whenever he was on the page, so yay for Sanak. But it might just be me having a bias for batarians.

Cool to have Kai Leng as a point of view character. I wasn’t enthralled by what was done with it, as he remains incredibly basic and as basically hateable and ungrounded than in Mass Effect 3 (I think he’s very underwhelming as a villain and he should have been built up in Mass Effect 2 to be effective). But there were some neat moments, such as the description of the Afterlife by Grayson who considers it as tugging at his base instincts, compared to Leng’s description of it where everything is deemed disgusting. The execution is not the best, but the concept was fun.

Pre-Reaperification Paul Grayson wasn’t the worst point of view to follow. I wasn’t super involved in his journey and didn’t care when he died one way or the other, but I empathized with his problems and hoped he would find a way out of the cycle of violence. The setup of his character arc was interesting, it’s just sad that any resolution -even negative- was dropped to focus on Reapers and his relationship with Kahlee Sanders, as I think the latter was the least interesting part.

The cover is cool and intringuing. Very soapy. It’s my favorite out of all the official novels, as it owns the cheesier aspect of the series, has nice contrasts and immediately asks questions. Very 90s/2000s. It’s great.

You may notice every thing I enjoyed was coated in complaints, because it’s a reflection of my frustration at this book for setting up interesting ideas and then completely missing the mark in their execution. So without further due, let’s talk about what I think the book didn’t do right.

1. Dumb complaints that don’t matter much

After reading the entire book, I am still a bit confused at to why Tim (the Illusive Man’s acronym is TIM in fandom, but I find immense joy in reffering to him as just Tim) wants his experimentation to be carried out on Grayson specifically, especially when getting to him is harder than pretty much anyone else (also wouldn’t pushing the very first experiments on alien captives make more sense given it’s Cerberus we’re talking about?). It seem to be done out of petty revenge, which is fine, but it still feels like quite the overlook to mess with a competent fighter, enhance him, and then expect things to stay under control (which Tim kind of doesn’t expect to, and that’s even weirder -why waste your components on something you plan to terminate almost immediately). At the same time, the pettiness is the only characterization we get out of Tim so good I guess? But if so, I wished it would have been accentuated to seem even more deliberate (and not have Tim regret to see it in himself, which flattens him and doesn’t inform the way he views the world and himself -but we’ll get to that).

I really disliked the way space travel is characterized. And that might be entirely just me, and perhaps it doesn’t contradict the rest of the lore, but space travel is so fast. People pop up left and right in a matter of hours. At some point we even get a mention of someone being able to jump 3 different Mass Relays and then arrive somewhere in 4 hours. I thought you first had to discharge your ship around a stellar object before being able to engage in the next jump (and that imply finding said object, which would have to take more than an hour). It’s not that big of a deal, but it completely crammed this giant world to a single boulevard for me and my hard-science-loving tastes. Not a big deal, but not a fan at all of this choice.

You wouldn’t believe how often people find themselves in a fight naked or in their underwear. It happens at least 3 times (and everyone naked survives -except one, we’ll get to her later).

Why did I need to know about this fifteen year’s old boner for his older teacher. Surely there were other ways to have his crush come across without this detail, or then have it be an actual point of tension in their relationship and not just a “teehee” moment. Weird choice imo.

I’m not a fan of the Talons. I don’t find them interesting or compelling. There is nothing about them that informs us on the world they live in. The fact they’re turian-ruled don’t tell us anything about turian culture that, say, the Blue Suns don’t tell us already. It’s a generic gang that is powerful because it is. I think they’re very boring, in this book and in the Omega DLC alike (a liiittle less in the DLC because of Nyreen, barely). Not a real criticism, I just don’t care for them at all.

I might just be very ace, but I didn’t find Anderson and Kahlee Sanders to have much chemistry. Same for Kahlee and Grayson (yes we do have some sort of love-triangle-but-not-really, but it’s not very important and it didn’t bother me much). Their relationships were all underwhelming to me, and I’ll explain why in part 4.

The red sand highs are barely described, and very safely -probably not from a place of intimate knowledge with drugs nor from intense research. Addiction is a delicate topic, and I feel like it could have been dealt with better, or not be included at all.

There are more of these, but I don’t want to turn this into a list of minor complaints for things that are more a matter of taste than craft quality or thematic relevance. So let’s move on.

2. Who cares about aliens in a Mass Effect novel

Now we’re getting into actual problems, and this one is kind of endemic to the Mass Effect novels (I thought the same when I read Revelation 9 years ago, though maybe less so as Saren in a PoV character -but I might have forgotten so there’s that). The aliens are described and characterized in the most uncurious, uninspired manner. Krogans are intimidating brutes. Turians are rigid. Asaris are sexy. Elcors are boring. Batarians are thugs (there is something to be said with how Aria’s second in command is literally the same batarian respawned with a different name in Mass Effect 2, this book, then the Omega DLC). Salarians are weak nerds. (if you allow me this little parenthesis because of course I have to complain about salarian characterization: the only salarian that speaks in the book talks in a cheap ripoff of Mordin’s speech pattern, which sucks because it’s specific to Mordin and not salarians as a whole, and is there to be afraid of a threat as a joke. This is SUCH a trope in the original trilogy -especially past Mass Effect 1 when they kind of give up on salarians except for a few chosen ones-, that salarians’ fear is not to be taken seriously and the only salarians who are to be considered don’t express fear at all -see Mordin and Kirrahe. It happens at least once per game, often more. This is one of the reasons why the genophage subplot is allowed to be so morally simple in ME3 and remove salarians from the equation. I get why they did that, but it’s still somewhat of a copeout. On this front, I have to give props to Andromeda for actually engaging with violence on salarians in a serious manner. It’s a refreshing change) I didn’t learn a single thing about any of these species, how they work, what they care about in the course of these 79750 words. I also didn’t learn much about their relationships to other species, including humans. I’ll mention xenophobia in more details later, but this entire aspect of the story takes a huge hit because of this lack of investment of who these species are.

I’ve always find Mass Effect, despite its sprawling universe full of vivid ideas and unique perspectives, to be strangely enamoured with humans, and it has never been so apparent than here. Only humans get to have layers, deserving of empathy and actual engagement. Only their pain is real and important. Only their death deserve mourning (we’ll come back to that). I’d speculate this comes from the same place that was terrified to have Liara as a love interest in ME1 in case she alienated the audience, and then later was surprised when half the fanbase was more interested in banging the dinosaur-bird than their fellow humans: Mass Effect often seem afraid of losing us and breaking our capacity for self-projection. It’s a very weird concern, in my opinion, that reveals the most immature, uncertain and soapy parts of the franchise. Here it’s punched to eleven, and I find it disappointing. It also have a surprising effect on the narrative: again, we’ll come back to that.

3. The squandered potential of Liselle and Aria

Okay. This one hurts. Let’s talk about Liselle: she’s introduced in the story as a teammate to Grayson, who at the time works as a merc for Aria T’loak on Omega, and also sleeps with him on the regular. She likes hitting the Afterlife’s dancefloor: she’s very admired there, as she’s described as extremely attractive. One night after receiving a call from Grayson, she rejoins him in his apartment. They have sex, then Kai Leng and other Cerberus agents barge in to capture Grayson -a fight break out (the first in a long tradition of naked/underwear fights), and both of them are stunned with tranquilizers. Grayson is to be taken to the Illusive Man. Kai Leng decides to slit Liselle’s throat as she lays unconscious to cover their tracks. When Aria T’loak and her team find her naked on a bed, throat gaping and covered in blood, Liselle is revealed, through her internal monologue, to be Aria’s secret daughter -that she kept secret for both of their safety. So Liselle is a sexpot who dies immediately in a very brutal and disempowered manner. This is a sad way to handle Aria T’loak’s daughter I think, but I assume it was done to give a strong motivation to the mother, who thinks Grayson did it. And also, it’s a cool setup to explore her psyche: how does she feel about business catching up with her in such a personal manner, how does she feel about the fact she couldn’t protect her own offspring despite all her power, what’s her relationship with loss and death, how does she slip when under high emotional stress, how does she deal with such a vulnerable position of having to cope without being able to show any sign of weakness... But the book does nothing with that. The most interesting we get is her complete absence of outward reaction when she sees her daughter as the centerpiece of a crime scene. Otherwise we have mentions that she’s not used to lose relatives, vague discomfort when someone mentions Liselle might have been raped, and vague discomfort at her body in display for everyone to gawk at. It’s not exactly revelatory behavior, and the missed potential is borderline criminal. It also doesn’t even justify itself as a strong motivation, as Aria vaguely tries to find Grayson again and then gives up until we give her intel on a silver platter. Then it almost feels as if she forgot her motivation for killing Grayson, and is as motivated by money than she is by her daughter’s murder (and that could be interesting too, but it’s not done in a deliberate way and therefore it seems more like a lack of characterization than anything else).

Now, to Aria. Because this book made me realize something I strongly dislike: the framing might constantly posture her as intelligent, but Aria T’loak is... kind of dumb, actually? In this book alone she’s misled, misinformed or tricked three different times. We’re constantly ensured she’s an amazing people reader but never once do we see this ability work in her favor -everyone fools her all the time. She doesn’t learn from her mistakes and jump from Cerberus trap to Cerberus trap, and her loosing Omega to them later is laughably stupid after the bullshit Tim put her through in this book alone. I’m not joking when I say the book has to pull out an entire paragraph on how it’s easier to lie to smart people to justify her complete dumbassery during her first negotiation with Tim. She doesn’t seem to know anything about how people work that could justify her power. She’s not politically savvy. She’s not good at manipulation. She’s just already established and very, very good at kicking ass. And I wouldn’t mind if Aria was just a brutish thug who maintains her power through violence and nothing else, that could also be interesting to have an asari act that way. But the narrative will not bow to the reality they have created for her, and keep pretending her flaw is in extreme pride only. This makes me think of the treatment of Sansa Stark in the latest seasons of Game of Thrones -the story and everyone in it is persuaded she’s a political mastermind, and in the exact same way I would adore for it to be true, but it’s just... not. It’s even worse for Aria, because Sansa does have victories by virtue of everyone being magically dumber than her whenever convenient. Aria just fails, again and again, and nobody seem to ever acknowledge it. Sadly her writing here completely justifies her writing in the Omega DLC and the comics, which I completely loathe; but turns out Aria isn’t smart or savvy, not even in posture or as a façade. She’s just violent, entitled, easily fooled, and throws public tantrums when things don’t go her way. And again, I guess that would be fine if only the narrative would recognize what she is. Me, I will gently ignore most of this (in her presentation at least, because I think it’s interesting to have something pitiful when you dig a little) and try to write her with a bit more elevation. But this was a very disappointing realization to have.

4. The squandered potential of Grayson and the Reapers

The waste of a subplot with Aria and Liselle might have hurt me more in a personal way, but what went down between Grayson and the Reapers hurts the entire series in a startling manner. And it’s so infuriating because the potential was there. Every setpiece was available to create something truly unique and disturbing by simply following the series’ own established lore. But this is not what happens. See, when The Illusive Man, our dearest Tim, captures Grayson for a betrayal that happened last book (something about his biotic autistic daughter -what’s the deal with autistic biotics being traumatized by Cerberus btw), he decides to use him as the key part of an experiment to understand how Reapers operate. So he forcefully implants the guy with Reaper technology (what they do exactly is unclear) to study his change into a husk and be prepared when Reapers come for humanity -it’s also compared to what happened with Saren when he “agreed” to be augmented by Sovereign. From there on, Grayson slowly turns into a husk. Doesn’t it sound fascinating, to be stuck in the mind of someone losing themselves to unknowable monsters? If you agree with me then I’m sorry because the execution is certainly... not that. The way the author chooses to describe the event is to use the trope of mind control used in media like Get Out: Grayson taking the backseat of his own mind and body. And I haaaaate it. I hate it so much. I don’t hate the trope itself (it can be interesting in other media, like Get Out!), but I loathe that it’s used here in a way that totally contradicts both the lore and basic biology. Grayson doesn’t find himself manipulated. He doesn’t find himself justifying increasingly jarring actions the way Saren has. He just... loses control of himself, disagreeing with what’s being done with him but not able to change much about it. He also can fight back and regain control sometimes -but his thoughts are almost untainted by Reaper influence. The technology is supposed to literally replace and reorganize the cells of his body; is this implying that body and mind are separated, that there maybe exists a soul that transcends indoctrination? I don’t know but I hate it. This also implies that every victim of the Reaper is secretely aware of what they’re doing and pained and disagreeing with their own actions. And I’m sorry but if it’s true, I think this sucks ass and removes one of the creepiest ideas of the Mass Effect universe -that identity can and will be lost, and that Reapers do not care about devouring individuality and reshaping it to the whims of their inexorable march. Keeping a clear stream of consciousness in the victim’s body makes it feel like a curse and not like a disease. None of the victims are truly gone that way, and it removes so much of the tragic powerlessness of organics in their fight against the machines. Imagine if Saren watched himself be a meanie and being like “nooo” from within until he had a chance to kill himself in a near-victorious battle, compared to him being completely persuaded he’s acting for the good of organic life until, for a split second, he comes to realize he doesn’t make any sense and is loosing his mind like someone with dementia would, and needs to grasp to this instant to make the last possible thing he could do to save others and his own mind from domination. I feel so little things for Saren in the former case, and so much for the latter. But it might just be me: I’m deeply touched by the exploration of how environment and things like medication can change someone’s behavior, it’s such a painfully human subject while forceful mind control is... just kind of cheap.

SPEAKING OF THE REAPERS. Did you know “The Reapers” as an entity is an actual character in this book? Because it is. And “The Reapers” is not a good character. During the introduction of Grayson and explaining his troubles, we get presented with the mean little voice in his head. It’s his thoughts in italics, nothing crazy, in fact it’s a little bit of a copeout from actually implementing his insecurities into the prose. But I gave the author the benefit of the doubt, as I knew Grayson would be indoctrinated later, and I fully expected the little voice to slowly start twisting into what the Reapers suggested to him. This doesn’t happen, or at least not in that slowburn sort of way. Instead the little voice is dropped almost immediately, and the Reapers are described, as a presence. And as the infection progresses, what Grayson do become what the Reapers do. The Reapers have emotions, it turns out. They’re disgusted at organic discharges. They’re pleased when Grayson accomplish what they want, and it’s told as such. They foment little plans to get their puppet to point A to point B, and we are privy to their calculations. And I’m sorry but the best way to ruin your lovecraftian concept is to try and explain its motivations and how it thinks. Because by definition the unknown is scarier, smarter, and colder than whatever a human author could come up with. I couldn’t take the Reapers’ dumb infiltration plans seriously, and now I think they are dumb all the time, and I didn’t want to!! The only cases in which the Reapers influence Grayson, we are told in very explicit details how so. For example, they won’t let Grayson commit suicide by flooding his brain with hope and determination when he tries, or they will change the words he types when he tries to send a message to Kahlee Sanders. And we are told exactly what they do every time. There was a glorious occasion to flex as a writer by diving deep into an unreliable narrator and write incredibly creepy prose, but I guess we could have been confused, and apparently that’s not allowed. And all of this is handled that poorly becauuuuuse...

5. Subtext is dead and Drew killed it

Now we need to talk about the prose. The style of the author is... let’s be generous and call it functional. It’s about clarity. The writing is so involved in its quest for clarity that it basically ruins the book, and most of the previous issues are direct consequences of the prose and adjacent decisions.The direct prose issues are puzzling, as they are known as rookie technical flaws and not something I would expect from the series’ Lead Writer for Mass Effect 1 and 2, but in this book we find problems such as:

The reliance on adverbs. Example: "Breathing heavily from the exertion, he stood up slowly”. I have nothing about a well-placed adverb that gives a verb a revelatory twist, but these could be replaced by stronger verbs, or cut altogether.

Filtering. Example: “Anderson knew that the fact they were getting no response was a bad sign”. This example is particularly egregious, but characters know things, feel things, realize things (boy do they realize things)... And this pulls us away from their internal world instead of making us live what they live, expliciting what should be implicit. For example, consider the alternative: “They were getting no reponse, which was a bad sign in Anderson’s experience.” We don’t really need the “in Anderson’s experience” either, but that already brings us significantly closer to his world, his lived experience as a soldier.

The goddamn dialogue tags. This one is the worst offender of the bunch. Nobody is allowed to talk without a dialogue tag in this book, and wow do people imply, admit, inform, remark and every other verb under the sun. Consider this example, which made me lose my mind a little: “What are you talking about? Kahlee wanted to know.” I couldn’t find it again, but I’m fairly certain I read a “What is it?” Anderson wanted to know. as well. Not only is it very distracting, it’s also yet another way to remove reader interpretation from the equation (also sometimes there will be a paragraph break inside a monologue -not even a long one-, and that doesn’t seem to be justified by anything? It’s not as big of a problem than the aversion to subtext, but it still confused me more than once)

Another writing choice that hurts the book in disproportionate ways is the reliance on point of view switches. In Retribution, we get the point of view of: Tim, Paul Grayson, Kai Leng, Kahlee Sanders, David Anderson, Aria T’loak, and Nick (a biotic teenager, the one with the boner). Maybe Sanak had a very small section too, but I couldn’t find it again so don’t take my word for it. That’s too many point of views for a plot-heavy 80k book in my opinion, but even besides that: the point of view switch several times in one single chapter. This is done in the most harmful way possible for tension: characters involved in the same scene take turns on the page explaining their perspective about the events, in a way that leaves the reader entirely aware of every stake to every character and every information that would be relevant in a scene. Take for example the first negotiation between Aria and Tim. The second Aria needs to ponder what her best move could possibly be, we get thrown back into Tim’s perspective explaining the exact ways in which he’s trying to deceive her -removing our agency to be either convinced or fooled alongside her. This results in a book that goes out of his way to keep us from engaging with its ideas and do any mental work on our own. Everything is laid out, bare and as overexplained as humanly possible. The format is also very repetitive: characters talk or do an action, and then we spend a paragraph explaining the exact mental reasoning for why they did what they did. There is nothing to interpret. No subtext at all whatsoever; and this contributes in casting a harsh light on the Mass Effect universe, cheapening it and overtly expliciting some of its worst ideas instead of leaving them politely blurred and for us to dress up in our minds. There is only one theme that remains subtextual in my opinion. And it’s not a pretty one.

6. Violence

So here’s the thing when you adapt a third person shooter into a novel: you created a violent world and now you will have to deal with death en-masse too (get it get it I’m so sorry). But while in videogames you can get away with thoughtless murder because it’s a gameplay mechanic and you’re not expected to philosophize on every splatter of blood, novels are all about internalization. Violent murder is by definition more uncomfortable in books, because we’re out of gamer conventions and now every death is actual when in games we just spawned more guys because we wanted that level to be a bit harder and on a subconscious level we know this and it makes it somewhat okay. I felt, in this book, a strange disconnect between the horrendous violence and the fact we’re expected to care about it like we would in a game: not much, or as a spectacle. Like in a game, we are expected to root for the safety of named characters the story indicated us we should be invested in. And because we’re in a book, this doesn’t feel like the objective truth of the universe spelled at us through user interface and quest logs, but the subjective worldview of the characters we’re following. And that makes them.... somewhat disturbing to follow.

I haven’t touched on Anderson and Kahlee Sanders much yet, but now I guess I have too, as they are the worst offenders of what is mentioned above. Kahlee cares about Grayson. She only cares about Grayson -and her students like the forementioned Nick, but mostly Grayson. Grayson is out there murdering people like it’s nobody’s business, but still, keeping Grayson alive is more important that people dying like flies around him. This is vaguely touched on, but not with the gravitas that I think was warranted. Also, Anderson goes with it. Because he cares about Kahlee. Anderson organizes a major political scandal between humans and turians because of Kahlee, because of Grayson. He convinces turians to risk a lot to bring Cerberus down, and I guess that could be understandable, but it’s mostly manipulation for the sake of Grayson��s survival: and a lot of turians die as a result. But not only turians: I was not comfortable with how casually the course of action to deal a huge blow to Cerberus and try to bring the organization down was to launch assault on stations and cover-ups for their organization. Not mass arrests: military assault. They came to arrest high operatives, maybe, but the grunts were okay to slaughter. This universe has a problem with systemic violence by the supposedly good guys in charge -and it’s always held up as the righteous and efficient way compared to these UGH boring politicians and these treaties and peace and such (amirite Anderson). And as the cadavers pile up, it starts to make our loveable protagonists... kind of self-centered assholes. Also: I think we might want to touch on who these cadavers tend to be, and get to my biggest point of discomfort with this novel.

Xenophobia is hard to write well, and I super sympathize with the attempts made and their inherent difficulty. This novel tries to evoke this theme in multiple ways: by virtue of having Cerberus’ heart and blade as point of view characters, we get a window into Tim and Kai Leng’s bigotry against aliens, and how this belief informs their actions. I wasn’t ever sold in their bigotry as it was shown to us. Tim evokes his scorn for whatever aliens do and how it’s inferior to humanity’s resilience -but it’s surface-level, not informed by deep and specific entranched beliefs on aliens motives and bodies, and how they are a threat on humanity according to them. The history of Mass Effect is rich with conflict and baggage between species, yet every expression of hatred is relegated to a vague “eww aliens” that doesn’t feed off systemically enforced beliefs but personal feelings of mistrust and disgust. I’ll take this example of Kai Leng, and his supposedly revulsion at the Afterlife as a peak example of alien decadence: he sees an asari in skimpy clothing, and deems her “whorish”. And this feels... off. Not because I don’t think Kai Leng would consider asaris whorish, but because this is supposed to represent Cerberus’ core beliefs: yet both him and Tim go on and on about how their goal is to uplift humanity, how no human is an enemy. But if that’s the case, then what makes Kai Leng call an Afterlife asari whorish and mean it in a way that’s meaningfully different from how he would consider a human sex worker in similar dispositions? Not that I don’t buy that Cerberus would have a very specific idea of what humans need to be to be considered worth preserving as good little ur-fascists, but this internal bias is never expressed in any way, and it makes the whole act feel hollow. Cerberus is not the only offender, though. Every time an alien expresses bias against humans in a way we’re meant to recognize as xenophobic, it reads the same way: as personal dislike and suspicion. As bullying. Which is such a small part of what bigotry encompasses. It’s so unspecific and divorced from their common history that it just never truly works in my opinion. You know what I thought worked, though? The golden trio of non-Cerberus human characters, and their attitude towards aliens. Grayson’s slight fetishism and suspicion of his attraction to Liselle, how bestial (in a cool, sexy way) he perceives the Afterlife to be. The way Anderson and Kahlee use turians for their own ends and do not spare a single thought towards those who died directly trying to protect them or Grayson immediately after the fact (they are more interested in Kahlee’s broken fingers and in kissing each other). How they feel disgust watching turians looting Cerberus soldiers, not because it’s disrespectful in general and the deaths are a inherent tragedy but because they are turians and the dead are humans. But it's not even really on them: the narration itself is engrossed by the suffering of humans, but aliens are relegated to setpieces in gore spectacles. Not even Grayson truly cares about the aliens the Reapers make him kill. Nobody does. Not even the aliens among each other: see, once again, Aria and Liselle, or Aria and Sanak. Nobody cares. At the very end of the story, Anderson comes to Kahlee and asks if she gives him permission to have Grayson’s body studied, the same way Cerberus planned to. It’s source of discomfort, but Kahlee gives in as it’s important, and probably what Grayson would have wanted, maybe? So yeah. In the end the only subtextual theme to find here (probably as an accident) is how the Alliance’s good guys are not that different from Cerberus it turns out. And I’m not sure how I feel about that.

7. Lore-approved books, or the art of shrinking an expanding universe

I’d like to open the conversation on a bigger topic: the very practice of game novelization, or IP-books. Because as much as I think Drew Karpyshyn’s final draft should not have ended up reading that amateur given the credits to his name, I really want to acknowledge the realities of this industry, and why the whole endeavor was perhaps doomed from the start regardless of Karpyshyn’s talent or wishes as an author.

The most jarring thing about this reading experience is as follows: I spent almost 80k words exploring this universe with new characters and side characters, all of them supposedly cool and interesting, and I learned nothing. I learned nothing new about the world, nothing new about the characters. Now that it’s over, I’m left wondering how I could chew on so much and gain so little. Maybe it’s just me, but more likely it’s by design. Not on poor Drew. Now that I did IP work myself, I have developed an acute sympathy for anyone who has to deal with the maddening contradictions of this type of business. Let me explain.

IP-adjacent media (in the West at least) sure has for goal to expand the universe: but expand as in bloat, not as in deepen. The target for this book is nerds like me, who liked the games and want more of this thing we liked. But then we’re confronted by two major competitors: the actual original media (in ME’s case, the games) whose this product is a marketing tool for, and fandom. IP books are not allowed to compete with the main media: the good ideas are for the main media, and any meaningful development has to be made in the main media (see: what happened with Kai Leng, or how everyone including me complains about the worldbuilding to the Disney Star Swars trilogy being hidden in the novelization). And when it comes to authorship (as in: taking an actual risk with the media and give it a personal spin), then we risk introducing ideas that complicate the main media even though a ridiculously small percent of the public will be attached to it, or ideas that fans despise. Of course we can’t have the latter. And once the fandom is huge enough, digging into anything the fans have strong headcanons for already risks creating a lot of emotions once some of these are made canon and some are disregarded. As much as I joke about how in Mass Effect you can learn about any gun in excrutiating details but we still don’t know if asaris have a concept for marriage... would we really want to know how/if asaris marry, or aren’t we glad we get to be creative and put our own spin on things? The dance between fandom and canon is a delicate one that can and will go wrong. And IP books are generally not worth the drama for the stakeholders.

Add this to insane deadlines, numerous parties all involved in some way and the usual struggles of book writing, and we get a situation where creating anything of value is pretty much a herculean task.

But then I ask... why do IP books *have* to be considered canon? I know this is part of the appeal, and that removing the “licenced” part only leaves us with published fanfiction, but... yeah. Yeah. I think it could be a fascinating model. Can you imagine having your IP and hiring X amount of distinctive authors to give it their own spin, not as definitive additions to the world but as creative endeavours and authorial deepdives? It would allow for these novels to be comparative and companion to the main media instead of being weird appendages that can never compare, and the structure would allow for these stories to be polished and edited to a higher level than most fanfictions. Of course I’m biased because I have a deep belief in the power of fanfiction as commentary and conversational piece. But I would really love to see companies’ approach to creative risk and canon to change. We might get Disney stuff until we die now, so the least we can ask for is for this content to be a little weird, personal and human.

That’s it. That’s the whole review. Thank you for reading, it was very long and weirdly passionate, have a nice dayyyyy.

#Mass Effect #mass effect retribution #me critical #writing #mass effect novels #anderson #kahlee sanders #Aria T'loak #paul grayson #liselle #salarians #IP conversation #omega #mass effect lore #reapers #book review

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fantastic-rambles · 3 years

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Ahhh yaknow what you’re right. I just went back and looked over some of the rod, and I didn’t see Langa explicitly agree to not to skate with Adam. He promised that he wouldn’t quit skating with Reki, but he only acknowledged Reki’s warning to not be reckless. It actually makes a bunch of sense why Langa would be confused by the distancing and argument. I see now why you were upset with Reki’s behavior. It feels kind of like a ‘secret contract’ sorta thing where Reki got upset over a broken rule Langa never realized he was supposed to abide by. And not only is that unfair like you said, but it flipped the situation as if Langa was being untrustworthy to his word when really Reki didn’t trust Langa not to quit skating with him just because of danger/injury. And especially since I’ve seen people make solid arguments for Langa being neurodivergent or neurodivergent-coded, it’s really not a stretch at all for him to see the situation like you did. Langa most likely saw the issue as solely reckless behavior leading to quitting. But clearly Reki’s own jealousy/insecurities added Langa preferring better skaters as potentially leading to them not skating together without ever discussing it until Langa was blindsided during the argument. I would’ve looked a better apology from Reki where he fully explained why he was upset when they were making up. It’s human for his feelings on the issue to change, but that should’ve been better expressed to Langa. Although Langa did a great job of accurately smoothing over what was bothering Reki without that. Maybe that’ll be rectified if he apologizes to Miya. I think Miya deserves one especially since Reki physically shoved him after he opened up about why his actions were such a sore spot for him. I actually thought Miya’s words would help Reki see the other side of things so seeing Miya get pushed was like a “Bro wtf??” moment for me. Again it’s understandable that people act out when they’re angry and Reki was obviously already struggling with his emotions, but it should be acknowledged again how wrong that was. Boy are you opening my eyes to a lot of problematic stuff lol.

Also, I’m very curious as to why you hate Shadow. For me, it’s because I can’t move past that comment in ep 1. I know ppl brush it off as just an (unnecessarily misogynistic) act for his persona, but that woman literally didn’t say anything to him and he insulted her for no reason by using her body as trophy to be defaced if he won. Ew. And just because he’s super nice to the flower shop lady, he does not get a pass. If he’s only respectful to women he’s attracted to and jumps at any other the opportunity to degrade women, he’s still a misogynist. And I’m pretty sure that he already new flower shop lady when the series started, so I don’t think you can argue that his character developed to be better towards women as a whole because of her or that he wouldn’t do something like that again at this point in the story. Especially since the goal of proving yourself as a “strong man” has not historically worked out to men being compassionate with women. (Tho within a vacuum devoid of his other actions, I can appreciate his commitment to a makeup routine)

Oh! And I would totally wanna read that fanfic if you write it!! I’m not even as gung-ho about Adam going to jail as most fans and Adam-haters tbh. Mainly because it’d probably be for political corruption via money bribes which is already kinda common and I don’t think the show has stated him to be doing anything particularly bad with it I don’t think so?? Like it seems to be mainly for the purpose of keeping S secret which is indeed a waste of money and effort when he could just buy it, but on the other hand, there doesn’t seem to be any ill consequences on the citizens the politician represents. So yea, it’s illegal so the jail time is technically deserved. But also like... no harm no foul🤷‍♀️ If he would be getting charged for assaulting other skaters than I definitely think that’s fair, but I doubt that’ll happen in the show just because I feel like no one will actually say anything when the time comes partially due to the shock of his arrest if they’re even involved. And I mean, Cherry was pissed at Adam for getting skaters hurt but still rolled out the hospital and joked like he was fine, so I just don’t particularly see anyone calling him out on it to the point of it being apart of his sentencing. The end of ep 11 with Cherry and Joe arguing about one of them going against Adam just doesn’t sound like condemning him to battery charges to me XD

But yaknow I’ve been loving hurt/comfort type fics lately, so I’d be really interested in seeing Adam truly work and change himself for some type of redemption in that setting. I can see hitting rock bottom as being really good for him given it may provide a reprieve from having to manage his image. Adam is underrated in complexity so it’s always cool when people try to flesh him out more and dive into his inner world. And of course Tadashi is kind of my fave (if you couldn’t tell) so I love anything healing for him as well :)

Yep, I was majorly pissed at Reki for how he treated Langa and Miya. His behavior is absolutely problematic. Not as bad as Adam, obviously, but with everything I’ve said and you’ve realized... yeah. I’m glad he made up with Langa and will probably make up with Miya, but it doesn’t invalidate everything he’s done before. Yes, he’s still an immature teenager, but I don’t think he realizes how messed up his behavior was, even after making up with Langa (the resolution seems to be based on him accepting that he’s not an ace skater, rather than recognizing how toxic his behavior was), so I’m still not satisfied. But hey, it’s probably just me being hyperfixated on trivial details that nobody else even cares about. /shrug

(I’m glad to know that I wasn’t misinterpreting the “promise,” or lack thereof, though!)

And I have two major problems with Shadow. My first--and biggest--problem is, as you’ve pointed out, that he’s an enormous misogynist. At “S,” people have the freedom to be exactly who they are beneath the facades that they show to the world. For example, Adam is someone desperately searching for someone who can understand him, not the perfectly put-together politician Shindo Ainosuke. Cherry and Joe are more true to their “real life” selves, but there are differences in their behavior on the track and off. And then there’s Shadow, the overcompensating “strong man” who threatens to make a guy tattoo “Dumpster Slut” over his girl’s name. So I 100% agree with everything you said about Shadow. He’s a chauvinistic pig.

The second problem is that I honestly think his actions when he’s racing are worse than Adam’s, and the only reason it’s not made out as such is because he’s the buttmonkey rather than the villain. I believe that, as problematic as Adam’s antics are, he does not intend to cause severe physical harm to his opponents. I’ve discussed this idea in more detail in other posts, but in short, even in the most extreme case--Cherry’s--his injuries were far lighter than they would have been if Adam had seriously wanted to hurt him. Death, coma, etc. were all highly probable outcomes of that situation, so the only reason they didn’t happen was because Adam was holding back. Or anime logic. But even anime logic can only stretch so far. And against lesser opponents like Reki, he generally holds onto them to ensure that they don’t accidentally hurt themselves when they’re panicking.

Of course, Shadow doesn’t intend to cause severe physical harm to his opponents either, but he does not exert any control over the situation after he throws fireworks at his opponent or shines a laser in their eyes. We’ve twice seen his opponents fall off the course as a direct result of his actions: Reki in the first race, Harry in the quarterfinals. They could have just as easily fallen off the cliff or slammed into a wall (at full speed) and been badly injured. If Shadow were an actual villain, I fully believe that he would have an actual body count of people who died racing against him (as opposed to Adam’s trail of injured opponents). So it bothers me that people shrug off what Shadow does while screaming for Adam’s death.

As for the scandal subplot... I’m *pretty* sure it’s a lot more serious than Adam bribing the police to leave “S” alone. I think he’s actually involved in some majorly shady/illegal activities politically. Like, in Episode 7, when the other Diet member gets pulled over, arrested, and has his house searched... there’s no way that has anything to do with “S.” At the very least, the two of them were collaborating on something really bad, something serious that Adam lied about under oath, and that’s enough for Adam’s staff to worry about what’s going to happen, especially Tadashi. We don’t know what it is specifically, but it’s definitely a lot more than just passing out bribes to hide “S.”

Lol, I’ll have to see how it goes. Probably won’t start it until after the anime finishes at the very least so I can see how it turns out for Adam and Tadashi, plus I have another half dozen WIPs at the moment and nowhere near enough time to work on them all. xD

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johnkrrasinski · 4 years

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Take You Home

full masterlist

Pairings: CEO!Sam Wilson x reader au

Word count: 3,095

Warning: mentions of alcohol, mention of sex.

Summary: you work as Samuel Wilson's personal assistant who was always arrogant and unequivocal to you and things changed after he ordered you to attend the office Christmas party.

a/n: this is my first time to write a fic so please be kind. Let me know what you think! By the way, this was inspired by this drabble so thank you for inspiring me to write my first fic ever!

Your alarm rang loudly next to your bed and you dismissed it. You groaned as your head began to throb, this reoccurring headache has been greeting you every morning since you started consuming a glass of wine every night after you took off your heels, stripped off your work clothes and sat on the worn grey couch in your living room and cry to whatever cheesy Netflix rom-com movie you found that night.

Your fiancee, well, ex fiancee now, Adrian, broke up with you a month ago over the phone because he thought he wasn’t ready to spend the rest of his life with you. You dated for 3 years then on the night of your three years anniversary, he proposed to you at the restaurant that you went to for your first date. But 5 months later, things changed after you began working for the Wilson Enterprises Holdings Inc., as your boss’ personal assistant, Samuel Wilson.

He said that your work had occupying every aspect of your personal life. You missed his birthday because you had to stay until late night to prepare the upcoming eco manufacturing program that was about to be announced. You also changed the way you dress, you used to be this carefree girl when it comes to how you look, but that changed since you got this lifetime opportunity to work in one of the biggest companies in America.

You’d also come late to date nights because you had to spend extra time in the office to discuss whatever that needed to be discussed with your boss. You even stood him up once because Samuel Wilson, the CEO of his own empire that he built from nothing won’t take no for an answer, especially when it comes to his job.

You’d often ignore his calls because you were too exhausted to talk on the phone and you just really wanted to take a warm shower and go straight to bed. He said that he couldn’t no longer be with you if you weren’t going to dedicate your life to him. He made you choose between your job or him. You chose your job. But it still hurt. It still broke your heart to pieces when that call ended.

Days went by like normal but there was a big part of your life that was missing. You felt incomplete without him. But you weren’t some dependent, broken girl. You weren’t going to let him destroy what you have worked so hard for. So you invested all your energy in your job. No matter how low you feel because of him, you had to get up again.

A week before Christmas eve, your co-worker, Wanda, asked you what you were going to wear for the Christmas party. You told her that honestly you hadn't put much thought into it. You had been so caught up in your job and when you are not thinking of your job you were thinking of... Well, Adrian.

You were planning to skip it and just stay at home in your pyjamas and watch cheesy rom-com movies. Honestly, you didn't have much energy to socialize with the people that you are not so close to and pretend that you're in a cheery Christmas mood. Everything had been so plain since Adrian left.

Later that day, your boss called you to his office to bring him some files. As usual, you always straighten your skirt before you enter because you don't wanna look like a mess before he saw you. You handed him over the files and watched him meticulously study them. He was wearing his usual black suit that fits his broad shoulders so perfectly. You couldn't help but stare at those muscles covered in that Giorgio Armani suit. After a few seconds, you realized that you had been standing there awkwardly, then you asked him: "is there anything else I can help you with, sir?"

He looked up and looked a little taken aback as if he hadn't noticed you standing there at all.

"Yes, are you coming to the Christmas party?"

"Um, i'm not sure yet, sir."

"You are. It's part of the regulation. You need to earn your place"

You chucked in disbelief and stared at him as if he had just grown two heads. This is the God knows how many time he ordered you around by starting with a question as if he was attempting a small talk.

"How is earning my place by attending a Christmas party relevant at all?"

"Because that's how we do things around here. Everyone must show up. If you're not going to put effort into being part of this company, then you shouldn't be working here at all. There are hundreds of women lining up to get to your place right now, and if you're not willing to work hard to keep your position, then you can walk yourself out."

That felt like a slap on the face. Your face grew hot and you were ready to curse him on his face. But you stopped yourself. You took a deep breath and calmed yourself down. He was right about one thing, that there are hundreds of women lining up to get to where you are.

You were once one of those women. You put your money, time and effort into your study to get a degree. You worked your ass off to prove that you are worthy to be even be considered to be Samuel Wilson's personal assistant. You clawed your way up to show them that you are capable.

"yes, I will come to the Christmas party, sir."

"Good. Then we're done here."

"Thank you, sir."

You chose this little red dress for the Christmas party. It had been awhile since you last wore that red dress. The last time you wore it was when you celebrated Valentine's day with Adrian. He had kissed you in that dress, he had held you in that dress and he made love to you before he stripped you out of that dress. But you stopped yourself before you were going too far down the memory lane.

You had 3 hours left to get ready. You took a shower, put on some makeup, and put on the dress. You were ready to go.

Your office Christmas party wasn't so bad. It was more quite than the usual Christmas parties. There were champagne, wine, and few other drink options available at the bar. Everyone dressed so classily. No one looked like they didn't wanna be here otherwise, well, they probably wouldn't even be here. There was some Christmas music playing and there's even a DJ. It wasn't some wild party full of drunken people, it was more like a small gathering.

Wanda, your co-worker who you actually consider a friend rather than just an acquaintance, accompanied you throughout the night. She's wearing a blue sparkly dress that shows all her curves.

"Hey, you look great!"

"Thanks, honestly I just threw on the first thing I found in my closet."

"Well, you better not tell the boss that because if he knows that you don't wanna be here then you're never coming ever."

"Yeah, so I've heard. He threatened to fire me if I don't show up today."

"He did? And you're still allowed to work at Wilson Enterprises Holdings?!"

"Well, yeah, I mean... I told him that I will show up. It's not like I disobeyed him."

"That wasn't the case with his last assistant, honey. She got fired simply because she didn't pick up his phone call once because her phone died."

"What?! Simply because of one phone call?"

"Mhm, and the next day she had her stuff thrown out by the security."

"Oh my god, that poor girl. I never even met her but I kinda feel bad for her."

"You should. We all do. She was good at what she did, but there is no messing up with Sam Wilson. It's either his way or the highway."

All of the sudden, the energy around the room had shifted. From laid back to formal. You were so lost in your conversation with Wanda about your boss that you didn't even notice that he had walked into the room. He was wearing a dapper maroon suit because of course, this man doesn't wear nothing else but suits.

He gave a little speech, greeted all of his employees and told everyone to enjoy themselves. Everyone cheered and clapped after he was done.

He walked over to the bar where you and Wanda were standing and you couldn't help but feel nervous. He made eye contact with you before he stood right by your side to order a drink.

"It's good to see you clean up real nice and show up. We don't need lazy employees here."

"Well, i'm here, aren't I? If that's not the exact opposite of lazy i don't know what is."

"Don't talk back. I'm your boss. If i ask you to do something, you do it. If i ask you to be somewhere, you better be there 15 minutes early. I don't like to wait. Got it?"

"Yes, boss."

"Good girl."

He walked away and disappeared into the crowd with that smug attitude. You couldn't help but feel your chest rising and you were ready to throw the champagne glass you were holding to the back of his head. Wanda's voice brought you back to reality.

"Damn, that was intense."

"Yeah, imagine a daily dose of that."

"I know he can be a pain of the ass most of the time but, he's not so bad though, you know Nancy from accounting right?"

"Yeah, what about her?"

"She was crying in the bathroom once and he happened to be there as well. When she walked out, she told him that her mother had just been tested positive breast cancer. And you know what he did? He sent her home so she could take care of her mother and covered all of her medical bills."

"All of it? Are you serious? That doesn't sound like the Sam Wilson I know."

"It's not the Sam Wilson you know but it's the Sam Wilson that the very few people know."

"Then how did you know?"

"Because Nancy told me even though she was told to keep this a secret. Bad little Nancy, but sometimes we just can't help but share a few stories when the boss' not around, you know?"

You were having a hard time in absorbing this but you believed Wanda. Although, it made you a little curious, who is actually Sam Wilson behind that resolute boss who wears expensive suits all the time?

You are an adult baby type of drunker. You were mumbling incoherent noises and you were crying and laughing at the same time. You could barely stand in your heels and you felt like you were about to throw up every 5 minutes. Wanda, like the good friend she is, tried to hold you up and order you an Uber. Everyone else had gone home and you were both the last people at the party because you kept insisting Wanda to dance even when no one else was really dancing.

After a few drinks, you started to feel dizzy. Yep, you were drunk. You needed lots of them tonight after dealing with your stern boss and the misery of missing your ex.

Or so you thought.

Sam Wilson had walked out to walk to where his luxurious sports car was parked when he saw Wanda struggling to hold you up. She was also struggling to order an Uber because you kept doing stupid things that forced her to stop you.

Sam was amused to see how different you were compared to your usual self in the office. You were reckless and carefree. It made him chuckle.

He approached to where you and Wanda were standing and he greeted you both. "Good evening, ladies. Why aren't you both home yet?"

Wanda immediately went into professional mode and straightened her posture. "I'm just trying to get y/n an Uber sir, after that, I'll be right on my way."

"It's late and it's not safe for a girl to be riding an Uber alone especially in this state. I'm gonna take her home."

"Really? Are you sure?"

"Yes. If something were to happen to her, I'm not gonna be sued by her family so, I'll give her a ride home."

"Okay, thank you, sir. Please make sure she gets home safe."

"I've driven myself for over 20 years, Wanda. No need to worry about getting anyone home safely."

Wanda handed you over to him so he could put you in the passenger seat of his car. He put on some soft jazz music as he put on your seatbelt. You were giggling and mumbling words that he couldn't understand on the way. Then he just remembered that Wanda didn't tell him where you lived. He tried to ask you but you were too drunk to answer and you even booped his nose.

You could call Wanda and ask her where she lives... Sam thought. He hesitantly took out his phone to dial her number but, deep down he knew he didn't wanna do that. He wanted to bring you home so you could sleep in his luxurious guest room. He kept trying to make up reasons of why he didn't ask Wanda for your address to convince himself that no, he's just being a good boss. Yep. That's what it is. It's not because he has a tiny crush on you or had been thinking about you for awhile but didn't know how to talk to you. Nope. Definitely not.

You fell asleep to the soft music playing on the radio. After you arrived, Sam carried you in a bridal style to his guest bedroom. He wanted to change your clothes and gave you something much more comfortable to sleep in but it would be inappropriate. So he took off your shoes, put them on the floor and covered you with the warm blanket.

He took a shower, changed into his tank top and boxer. Turned off the lights then went to bed. He tried to close his eyes but he couldn't with you being only a few feet away from him. He fought the urge to walk over to the guest bedroom and hold you against his chest by pulling his cock out of his boxer and, wrapped his hand around it and started jerking himself up and down until he was a sweating, groaning mess. He chanted your name like a prayer as he cums.

So much for trying to get you out of his head...

The next morning you woke up feeling groggy and woozy by how bright the sun was assaulting your vision. You don't remember much of last night. You went to your office Christmas party, talked to Wanda, had an encounter with your irritating boss and then... Blank. You were really shit faced.

You realized you were still wearing the red dress wore last night. You looked around the room and you realized you weren't in your own. You were in someone's room that was sure to have a hell lot of money. You started to feel scared. Were you kidnapped? Did someone drug you? Did someone rape you?

But you reached under your dress and you still felt your underwear there. Thank God. Then you heard Frank Sinatra playing from somewhere outside of the bedroom.

I've got you under my skin

I have got you, deep in the heart of me

You walked out and stumbled on your own shoes and you quickly grabbed it and carefully opened the door. The delicious smell of egg and bacon greeted you and you immediately went downstairs. You weren't sure what you were going to find but you were starving. The sound of the music couldn't overpower the growling that your stomach makes.

You found your way to the stark white kitchen and what you saw had you dumbfounded more than anything else. You saw Sam Wilson in his purple Nike shirt. You were stunned by the image of Sam Wilson wearing something else other than suit. He was making himself breakfast before he noticed you.

"Good morning. You want some breakfast?" He casually asked. He looked at you then went back to cooking.

That left you even more bewildered. Is he really acting like this is normal? Like you were supposed to be his girlfriend who lives here and just woke up from a deep slumber?

You put the puzzle together and you realized... This was his home. Your arrogant, stern boss, Samuel Wilson. You couldn't help but went straight to the question that had been lingering loudly in your head; "why am I here?"

He turned off the stove and put the egg & bacon into a plate. "You were drunk last night then I wanted to give you a ride home. But I didn't know where you live so, I took you to mine."

You were so drunk last night that you felt like you were probably still drunk because none of this makes any sense.

Then your stomach began to grumbled for the second time as if it was complaining for you to fill it with food now.

You had a lot of questions but right now, all you wanted to do was eat. Then you can talk more later.

You walked to where the dining table was and said "yes, please, i'll take that breakfast offer."

Sam smirked and pulled out a chair for you to sit in. And now he's pulling chairs for you? What the hell happened during your drunken state?!

He took out a fork and a knife for you but he accidentally dropped the fork when he was trying to give it to you. He bent over and you got an exclusive front seat view of his ass and how thick it was. "Not bad, Mr. Wilson."

You had said that louder than you planned.

"What was that?"

"Nothing. I said nice kitchen, Mr Wilson."

"Drop the formalities. Call me Sam, we are not in the office right now."

He handed you over the fork and the knife after he cleaned them up.

There were worse ways to spend your hangover than having breakfast with Sam Wilson after all...

#sam wilson fanfic #sam wilson fanfiction #sam wilson one shot #sam wilson x reader #sam wilson x you #sam wilson x y/n #sam wilson au #ceo!sam wilson #sam wilson #sam wilson imagine

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brilliantorinsane · 5 years

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The Case of the Lady Beryl

As the name suggests, the closest canon analogue for this episode is The Case of the Beryl Cornet. As far as I can tell the similarities are pretty superficial, basically just consisting of the fact that both mysteries feature a suspect taking the fall for a crime they didn’t commit for the sake of a loved one. I didn’t notice anything particularly interesting in the episode’s use of the canon story, however, so I am going to set that aside and focus on Watson.

Introduction, Ep1 Pt1, Ep1 Pt2

This episode features Holmes at his best, but I was initially bothered by the fact that Watson spends the first half of the episode being rather stupider than normal. Now, characters needn’t be intelligent to be loved and lovable, and the fact that Holmes and Watson take their turns being played for fools is frankly one of the strengths of the series. But given the history of adaptations erasing Watson’s capabilities I get touchy when he is being underestimated, so when in the span of 10 minutes he has fallen for a transparent lie from Lestrade, mocked Holmes’s experiments, taken 24 seconds to process a perfectly straightforward sentence, and flat-out forgotten how bullets work, I start getting defensive.

Fortunately, fandom has taught me a great deal about the potential for audience interaction with texts to be transformative as well as analytical, so I’ve brought my stubbornness to bear and found an interpretation that (mostly) satisfies me. I do not know whether the reading I have to offer was in any way intended, but I do think it is consistent with what exists on the screen and adds depth to Watson’s characterization. That being said I don’t suppose I’ll ever entirely forgive them for implying that John Watson, a fricken doctor and soldier, is unable to differentiate between a bullet-wound and a bashed-in head.

The observation that prompted my re-evaluation of Watson’s behavior was realizing that in every instance his slowness is directly related to his following Lestrade’s lead or being more focused on Lestrade than Holmes. This is a curious thing, particularly since I think it would be far too simplistic to infer that Watson is simply looking for someone to follow and imitate. After all, even though Holmes has a deep effect on him, Watson frequently challenges Holmes’s conclusions and never adopts his manner. So of all people, why would Watson choose to imitate Lestrade, a man who is frequently the butt of the joke and at times seems to care about his own image more than the justice he has been given the authority and responsibility to protect?

My theory, counterintuitive though it may seem, is that Lestrade is the sort of man Watson believes he ought to be. I think there is evidence that this Watson, regardless of his actual personality and inclinations, thinks he ought to be a traditionally proper English gentleman. Throughout the show he continually protests Holmes’s eccentricities, and yet far from meaningfully attempting to abate or escape them, he not infrequently joins in wholeheartedly. To me, this seems indicative of a pattern: in this series Holmes and Watson are both eccentric madmen, but whereas Holmes is perfectly comfortable with the fact, Watson has put effort into appearing ‘normal’ and ‘correct’, and periodically struggles to maintain or reclaim that image—both in the eyes of others and himself.

And the funny thing about Lestrade is that, for all his buffoonery, in a very real way he represents the proper English gentleman. When Holmes isn’t busy destabilizing Lestrade’s self-image he is confident, assertive, and takes the lead. His manner (when he feels in control) is dignified and polite. He has the socially sanctioned “correct” opinions about gender and class and English superiority. And granted much of this is a facade which interferes with his accomplishing his job justly and well, but it has been sanctioned by the symbol of the police cap and the power of the Inspector. He has been chosen as the protector of a society whose cultural ideal he (superficially) embodies.

So, all things considered, Watson is very little like Lestrade, but Lestrade is very much like the sort of man Watson has been socially conditioned to aspire to.

(As a side note, part of the reason I enjoy this reading of Howard Watson is that it puts him in conversation with other Watson adaptations and the canon itself. Certainly it fits with my reading of the BBC Sherlock and Guy Ritchie Watsons. I haven’t decided the extent to which I read canon Watson in a similar manner, but the potential for such a reading is there in the way he paints himself as a deeply normal man while engaging in highly abnormal behavior. The Sign of Four, I suspect, provides especially good material for such an interpretation).

Perhaps the best part of this reading is that, if Lestrade leads Watson into performative normality, it is Holmes who releases him. Once Holmes is included in the investigation, a gradual shift occurs. At first Watson maintains his alliance with Lestrade, but for all that Lestrade has the advantage of social pressures pushing Watson towards him, this cannot last long once Holmes has re-entered the picture. By the time they are interviewing the primary suspect, he has returned to his usual intelligent and capable self.

Because that’s one of the many the beauties of their relationship: Holmes frees Watson from the endless task of conforming, and his genuine self is far better than any cheap imitation. And while I didn’t get into in this write-up, Watson returns the favor by loving Holmes as he is while curbing his more dangerous exterminates and keeping him grounded and present. Also in this episode he’s already 2-for-2 saving Holmes’s life and property and they’re just so good for each other and I love them.

My Story:

I don’t have anything particular to add on this point aside from what I’ve already said, but here’s the link to chapter two of Hidden in the Moments:

https://archiveofourown.org/works/12795147/chapters/29238576#workskin

Highlights:

Although Watson’s behavior around Lestrade isn’t his finest, I quite enjoy the fact that in the second episode Watson has already wheedled his way into cases on his own merit. Then his first move is to convince Lestrade to involve Holmes, which is adorable.

Also when he suggests they bring in Holmes his eyes get all soft and he has this warm little smile, like he’s so pleased and excited at the prospect of seeing Holmes at work again (3.20).

It’s also worth noting that the first thing that gets Watson on Lestrade’s side is Lestrade ranting about how Holmes deserves more credit. I’m pretty sure it’s insincere deflection on Lestrade’s part, but Watson believes him and is so endeared to Lestrade for defending Holmes and it’s honestly quite sweet.

Wilkins!!! Have I mentioned yet that I really love Wilkins? He’s smart without being showy, plays everything straight but is actually rather snarky, doesn't dismiss Holmes’s experiments like most people do and is maybe the only character who always enjoys Holmes’s intelligence without ever feeling threatened by it. I just find him really endearing.

So Wilkins walks into Baker Street when Holmes is doing an experiment, and Holmes immediately drags him into his experiment while absentmindedly offering him tea twice. And I love this scene because this Holmes is actually pretty social, it’s just on his own terms. He’s probably not going to do small-talk most days, but when he’s in the right mood he will serve you endless cups of probably-not-poisoned tea and ramble about his current fixation, which I honestly feel is very true to canon. Also I think he just genuinely likes Wilkins.

When trying to hurry Holmes off to a crime scene Lestrade calls his experiments ‘nonsense.’ Poor Holmes looks absolutely stricken, then passionately lectures Lestrade on the importance of Science and Progress all the way to the crime scene. Holmes is a nerd and I love him.

As they rush off to the crime scene Watson pauses to turn off the burner under Holmes’s experiments, and by Holmes’s estimation very likely saved Baker Street. It’s a lovely little example of how Watson’s somewhat more grounded personality works in tandem with Holmes’s absentminded hyperfocusing.

I quite like Lady Beryl. Granted her performance and circumstances are a bit melodramatic, but she has a quiet and calculating strength that draws me to her.

There’s a scene at 16:15 when Holmes is (rather unnecessarily) ribbing Lestrade and Lestrade begins to get worked up and defensive. Matters could have escalated from there, but Watson quietly leans forward and relays some pertinent facts about the crime scene to Holmes. It’s just a little moment of unpretentious conflict-resolution born of what Watson has already come to understand about these two men, and I really appreciate it.

24:27–24:32: “Brilliant Holmes, absolutely brilliant!”“Thank you Watson :)”

Watson again nabs the criminal efficiently and without posturing, while Holmes watches with all the attentiveness he offers a crime scene before offering one of his secret little smiles.

Holmes runs off in a panic upon realizing he left the burner on, and the episode ends before Watson can catch up and reassure him. And while I have my own (much longer) mental timeline of events, I must admit that what with our not being privy to it, the rush of gratitude and relief when Holmes realizes what Watson has done makes that unseen moment an excellent candidate for a first kiss.

@the-prince-of-professors @tremendousdetectivetheorist @devoursjohnlock@mafief @the-hopeless-existentialist@irishunic0rn @a-candle-for-sherlock@rfscommonplace @acdhw @artemisastarte

#it's 10:24 #which means its still jan 29th here #i mean it's not actually about their meeting #but it still is about them #and at any rate this gave me an arbitrary date to force myself to post it by #anyhow i've been struggling to get this one close to right and i'm currently half-asleep so i've no clue if it makes sense #enjoy!#howard holmes #sheldon reynolds #howard marion-crawford #ronald howard #howard holmes meta

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