#if you played the subspace emissary you will understand

[rainingracco0ns]

i really dont know how else to explain it but

Cuteguy and Hotguy

[ronispadez]

1 for the choose violance ask?

1: the character everyone gets wrong

AUGGHHHHHHH OHHH MY GOD!!!!!!!!!! LUCAS 4 SURE. also maybe Gerard and Frank and other Band Dudes, but as for actual fictional characters, PROBABLY LUCAS!

Now, we don't have a clear idea of what Lucas is like post time-skip, if he's still the same gentle cry baby as he was before, in the prologue. But you gotta understand that going on a journey like that has got to change a person. He's def a lot more brave than the fandom, AND FUCKING SMASH BROS BRAWL !!! gives him credit for.

Old fanfics will usually give him t-th-he unre-re-alistic s-s-s-s-stuttering habit, which is sssssoooooooooo hard to read sometimes. I understand stuttering as something someone can have naturally, but in this context, it's something he does because he's nervous or scared or flustered. And he does it almost every time he talks until he finally warms up enough, or he's in a perpetual state of flustered. I'd understand if this was an actual speech thing he had that the author brings up, but no, you can tell that the intention is just to make him look more, ... Im not sure the right word, but more Shoujo shy girl like. Y'know?

Mischaracterization can't really be a thing with Mother protags and other silent protagonist. There can be opinions on characters I can either like or dislike, but that doesn't rule out the possibility that the character is "actually" like that. For Ness and Ninten, no one is really right or wrong... Characterizing them as assholes (COUGH mother 1 novel with Ninten/Ken) or as shy or, well, most of the time people just write Ness as a heroic extrovert and/or complete dumbass which personally is the correct way to me.

But in Mother 3, we get more character from Lucas than we do with any other mother protag, in that he's a gentle boy who likes flowers, and the village sees him as a crybaby, even before Hinawa died. (That one lady Flint talks to during the forest fire, before they knew Hinawa died, called Lucas a crybaby)

But fuck dude, even before the time-skip happened, Lucas came in clutch with the drago to save Salsa and Kuma from Fassad!!! You go, baby Lucas! wth!!!!

Anyway I am fucking SICK!!! I AM FYUCKIMG SICKKK!!!!!!!! Of baby-cant-do-nothin-right-pussy-boy Lucas, characterized in fanart or fanfics. I don't want him to just be a stoic asshole, but I also don't want the crybaby part to be laid on too thick, y'know? Characterize him with thought. He can still be a gentle crybaby, but don't make that his whole thing, who cries at any small thing that happens

As much as I love Brawl, it was the start of this trend. As much as I love subspace emissary, they absolutely did Lucas fucking DIRTY. What the fuck is he doing, getting scared over these fuckin doll guys and the poo-poo gas ??? I do understand that he doesn't have his friends and dog with him, so he's lost faith in his solo battling ability. I guess. Also is this after the game ended, where he's endured the worst fucking battle of his life?? Or pre time-skip, making smash, or at least subspace Lucas, a little baby man who hasnt gone thru character development yet? Most likely not. I don't know. Subspace's characterization with Lucas was fucking foul. It started the trend of writing Lucas like a little bitch because that's how most of the world was introduced to him. Most people haven't played his game, so they see him as this little BITCH BOY AUUHGHHHHH

Sorry, I'm rambling and not finishing any of my thoughts, but this is something I have to properly write an essay on or make a fuckin YouTube video about or something. Jesus

I do have to say I think Ness' character in Subspace was pretty cute. I wanna see more fanfics where Lucas gets upset with Ness because he protects him too much and Lucas proves himself as strong enough without Ness' help. And then they kiss maybe. Maybe even hold hands ..

Also I am RIDDLED with Nesscas brain I forgot that's literally what Lucas goes thru when he's with Red, I forgor. But most people just think about the Ness Died Because of Lucas Scene in subspace, not how he protects himself and Red later. Oughhhhhh

PENIS BLAST let's just start over, all the way back in 2008 everybody, cmon, let's go, into the phase distorter

[maxwell-grant]

May I please ask where you set the boundaries when constructing a crossover? (i.e. How far are you willing to bend characterisation of the setting a character's adventures take place in and of the individual characters themselves to make this crossover work? How many settings are you actually prepared to smush together before you feel you're losing more than you gain in this mix? and so forth).

I could be off the mark here, but this question sounds like you yourself got a very big idea planned but you are unsure of how far you can, or want to, push the concept. Two words of advice upfront: 1: Stop overthinking it, and 2: Run your ideas by people whose judgment you know and trust. I run some of my biggest and stupidest ideas by friends of mine and they help me make them less stupid or at least stupider but in a better way.

I mentioned in my post about potential Shadow crossovers that "boundaries" are not the priority to fret over so much as having a good working knowledge of the characters. And part of that is because a crossover, by design, already constitutes the breaking of boundaries. That's by default what a crossover does. You don't wanna test or break boundaries, then you picked the wrong kind of story.

A crossover is still a story like any other. Two characters meeting is not a story, it's a premise. You don't start a story by defining where it can't go, before you've even decided where you want to take it. Some boundaries are important, others aren't. Some boundaries are hard-coded and unbreakable, and others HAVE to be broken for the story to work, and the process of deciding which is which is easier when you have a clearer idea of what are the characters and what is the story you want to tell, and what you can and can't do with either. You gotta understand the properties you're working with, or at least, understand WHY you want to work with them and make this crossover happen in the first place.

For example, you could, very easily, write a crossover between The Shadow and The Spider, just by going through the motions. They are urban vigilantes with fairly similar designs who live in the same time period and fight crime with their supporting casts. I'm sure most writers offered the job wouldn't think twice of putting them together. But as someone who's read their stories quite extensively and who likes and obsesses over both characters, I would not cross over the two, because their stories and characters are fundamentally incompatible with each other in a more "serious" narrative, and you could not merge the two without seriously fraying one or the other.

It's a story that doesn't work, with characters that are not supposed to function together or in each other's narrative real estate, even with a character as malleable as The Shadow. This doesn't mean that it's impossible to write a good Shadow and Spider crossover, but to me, personally, these two are hard-line incompatible. That is, if it's a crossover based specifically on these two, because that changes if said crossover expands to more characters, as I'll get into.

Regarding the question:

How far are you willing to bend characterisation of the setting a character's adventures take place in and of the individual characters themselves to make this crossover work?

By default, any crossover is already going to have to create new settings from scratch based on relevant bits and pieces from the properties in question, so you do get more leeway for bending it.

But regarding characters, it's a question that cannot have a unified answer, because it's even more so dependant on a case-by-case basis. You could argue "only as much as necessary for the story to work", sure, but that's not really a good answer, because a story can do anything it's author wants to, and sometimes the story is not good to begin with, or the characters are just not made for being in the same narrative or even partaking in a crossover to begin with.

No amount of justifications for a story or characterization can excuse an unsatisfying result. Joe Yabuki and Guts are two of my favorite manga protagonists, but there would be no point to even attempting to put them together in the same story, because you'd have to twist either their narratives or their characters past the point of recognizability, which defeats the purpose of making a crossover to begin with.

Like, yeah, we've all heard the argument that Zack Snyder's Superman makes sense in the context of his movies, doing his own thing. Sure. But there's a reason any discussion of that character in the context of Superman in general comes prefaced with "Zack Snyder's" first, and why mainstream audiences who earnestly looked forward to Batman V Superman walked away feeling cheated, because, to borrow RLM terms here, they got "MurderMan vs Captain Hypocrite", and you can't even tell which is which in that description. You gotta give audiences at least a bit of what you promised them.

How many settings are you actually prepared to smush together before you feel you're losing more than you gain in this mix?

This one actually DOES depend on the story, because most stories that aren't just short narratives require multiple settings for it's scenes. Chances are your narrative will already be combining multiple settings, because setting is a word that can refer to "Korea during the Joseon dynasty", "spaceship traveling through lost nebulas" and "the McDonalds parking lot", as if they are the same thing. And in a way, when you look at a narrative's bones, they basically are.

To an extent, I think opening yourself up for a massive crossover of multiple properties of different characters and settings can, indeed, be a better choice than just going off purely by X meets Y. You start off by making it very clear to the audience that the boundaries are thin and you will be breaking them, and you use said framework to instead tell a myriad of stories, big and small. Stories that you couldn't really tell if you stuck to an existing framework or defined strongly the boundaries you can't cross. I'm gonna use Smash Bros as an example:

Smash Bros is arguably the biggest "official" crossover of all time, and it doesn't really have a "story" other than the basic framework that the series was built on, that these were representations of Nintendo icons dueling it out, and the few details that used to define this in the older days (like the characters being trophies and copies, and not the real deal) have been basically pushed aside. The most story you get in Smash nowadays is in the form of what the trailers showThe "point" of Smash was never really to tell a big, dramatic story with these characters. And maybe you really can't tell this kind of story, or a good story, with this many characters to juggle.

But they tried it once.

I'm sure most of you who do remember Brawl, as anything other than the blistering shame of the franchise that it's treated as these days, remember it mainly because of Subspace Emissary, which was this big, dramatic storyline where the end of the world was at stake and all the characters had to pull their weight to fight it. Subspace didn't have dialogue, it didn't have much story other than characters going from scene to scene while fighting, several of the characters either got nothing to do or were written poorly (mostly Wario), and none of this mattered at all, because Subspace, I'd argue, was the one and only time Smash Bros ever really recaptured that childhood feeling of smashing toys together that the franchise was built on.

Because if you remember being a kid smashing toys together, you remember not just doing it because you wanted Max Steel to kick Cobra Commander's butt. No, you did it because you wanted to tell a story where Max Steel got trapped in a rapidly filling water tank along with He-Man's Battle Cat while Cobra Commander kidnapped Max's girlfriend April O'Neil and bombed the city, and Max Steel had to talk Battle Cat into not eating him so they could together save the city and April from evil, and so they reconciled their differences and saved the day. Those things mattered to you. They were the stories you could tell with the resources you had in hand, sagas you did for the sheer fun of it, regardless of whether they were "good", you probably didn't even think of that. Why would you? You had bigger things to do.

And that's what Subspace did. It was big and dramatic and the world was at stake and all these heroes were coming together. Ness sacrificing himself to Wario so Lucas could have a chance to run away. Diddy Kong dragging along seasoned Star Fox pilots to rescue his buddy. Samus and Pikachu forming a bond. Peach stopping a deadly battle just by offering tea. ROB's story arc culminating in actual genocide, hell, ROB having a story arc to begin with. To a lot of people who played Brawl as one of their first games, this would have been their "introduction" to a lot of these characters in any sort of narrative, and to characters like ROB or Ice Climbers, this would have been the only chance they would ever get to be part of a great big dramatic narrative. Hell, Pit sure looked like he was on the same boat at the time, until Smash brought the Kid Icarus franchise back from death, and now Smash is where characters or properties get to stay relevant or at least on life support (Captain Falcon), or make glorious comebacks (King K.Rool). Brawl was what destroyed the idea of there being boundaries as to who could get in Smash or what kind of story could be told within it.

And people don't seem to recall this nowadays, but Brawl was when Smash exploded in fan content, specifically inspired by Subspace. This was the period of the Machinima craze and the fan mods galore and fan remixes and fan art and fan headcanons and fan films, and suddenly it hit people that, just because the games couldn't accomodate the stories they could tell with the premise, didn't mean that they couldn't start telling them on their own. We even got the formerly longest piece of English fiction off of it. The devotion Melee inspired in competitive players, Brawl did for artists and creators who got their start off in Smash fan content.

And because of it, suddenly a lot more people started writing stories with ROB and Ice Climbers and Pit and Captain Falcon and so on than there would have ever been if it wasn't for Brawl and Subspace. Smash gave ROB a story the character likely would have never gotten otherwise. And if you don't grasp what I'm getting at because you still think that fan content is a long way from being "official" or at least respectable, I don't know what you're doing following someone who rants about pulp fiction all day.

The point I want to get across is, boundaries in a crossover are important, yes, they exist for a good reason, but the boundaries should be defined by the story and characters and whatnot, not the other way around. Boundaries in fiction exist to be crossed or tested, they exist to tell you where you can't go so you can try to do so anyway and either fly high or crash.

Sometimes, bending or twisting characters and settings can be both a grave sin, as well as the thing that allows them to survive. Sometimes there are rules that seem unbreakable until someone breaks them without trying. And sometimes, going big and stupid and carefree over-the-top is either the worst, or the best outcome. It's fiction, taking risks and having fun is part of it.

So I'm afraid I thankfully cannot give your question a universal answer.

[marxzsoul]

I should add when Andrew later came over to my house to play he immediately had me pull up all of the subspace emissary clips on YouTube so I could watch and understand smash bros. And I was so enthralled and amazed and begged my mom for it shortly after lol

Also Andrew and I used to play Pokémon Diamond and Pearl together, mostly just multiplayer stuff like the underground. He never let me battle him bc he “would win easily so it would be a waste of time.” Which only made me want to battle him even more. I begged and begged for MONTHS to let me battle him. Finally he did and he destroyed me in a few turns. And I was so sad like oh.. and I think he felt bad and was like … hey let me teach you about EV training and IV breeding.

To this day I still have an Arceus he traded me in my current Moon game 🥺

[kiranxrys]

Alone Together Episode 2 Transcript

Okay, I guess I’m going to keep doing these for now! This is a viewer-made transcript of Episode 2 ‘Sources’ of Alone Together: A DS9 Companion performed on the Sid City Social Club. Again, beneath the cut, and again, please let me know if you think there are any errors and I’ll fix them ♥

watch: one | two | three | four

read: one | three | four

ANNOUNCER (ON-SCREEN): ‘Alone Together’ – a DS9 companion, Episode 2 – ‘Sources’. Jake Sisko is forty-four years old. He is now the editor in chief for the Federation News Service and living in the apartment above Sisko’s restaurant with his wife and their two daughters. Jake has clearly matured and carries the weight of the world on his shoulders most days. Nathan took over the restaurant from Joseph when he finally realized he could no longer keep up with day-to-day operations. Nathan continues to use Joseph’s time-honored recipes, but he still forgets to stir the gumbo often enough.

Jake first moved in with his grandfather when he decided to pursue his reporting career on Earth. The great thing about Jake’s father, Benjamin Sisko, being a Bajoran Prophet is that he can always reach out to Jake, Kasidy, or their son. Today Jake’s not-so-baby brother lieutenant junior-grade Joseph Yates-Sisko is an engineer on Deep Space 9. Doctor Julian Bashir has taken on a rather paternal role with the Sisko children, as has Professor Miles O’Brien at Starfleet Academy. Miles has even been known to show up with a bottle of the good stuff from time to time. Quark even keeps in touch with Jake, usually to trade information as much as checking up on Jake. Having dated a Dabo girl, Jake became a rather proficient Dabo player. Quark gives him information and in exchange, Jake doesn’t play so much Dabo when he visits the station.

[fade to black]

RECAP: In our last episode, Garak called Doctor Bashir to Cardassia Prime under a mysterious pretense. Unable to transport to the surface or access medical records from the planetary health authority, Doctor Bashir is at an impasse starting to treat or cure the unknown illness affecting Cardassia.

JULIAN BASHIR (VOICE ONLY): Mission log stardate 73712.6. Castellan Garak has brought me up to speed on the medical situation on Cardassia. A genetically engineered virus has begun sweeping through the populace, seemingly infecting at random. The source remains a mystery. My analysis is quite preliminary at this point.

JAKE SISKO (VOICE ONLY): Julian, is that you? I can’t seem to make visual contact. Please respond.

JULIAN (ON-SCREEN): Jake? Jake, I’m reading your transmission – standby, I’m trying to clean up the signal. Computer, apply a recursive algorithm to the bandwidth filter.

COMPUTER: Working.

JULIAN: Jake! I’m not receiving this transmission under ideal circumstances. Wait- wait a minute, there we go. Is that better?

JAKE (ON-SCREEN): Julian. [laughs] Hi. I tried to contact you on the station.

JULIAN: Yes, I was called away on a priority mission. What can I do for you?

JAKE: Well, uh, Doctor Jabara told me – the medical emergency, right? Is everything okay?

JULIAN: Yes, I’ve only just arrived so there’s a lot of work to be done. It’s good to hear from you, Jake but I’ve a lot to do and I’m a team of one – what can I do for you?

JAKE: Yeah, well, when Doctor Jabara told me I tried to call Kira but she was in consultation with the Vedek Assembly.

JULIAN: Yes, the life of a Kai is a busy one, but I wasn’t called to Bajor.

JAKE: Yeah, um, any chance that this has something to do with what’s happening on Cardassia?

JULIAN: Um… where I am is classified. However it’s simply a humanitarian mission. But what do you mean, what have you heard is happening on Cardassia?

JAKE: Ah, I have my sources.

JULIAN: Jake…

JAKE (LAUGHING): I just have a few questions, Julian. Um… you know me, I won’t take too much of your time.

JULIAN: The last time you had a few questions I spent the next four hours consulting on your latest novel.

JAKE: Yeah, well today I’m contacting you in official capacity for the Federation News Service. And… I’ll make you a deal. You tell me what you know, and I’ll tell you whatever it is that you think I know.

JULIAN (LAUGHING): Look, Mister Editor-In-Chief, you contacted me.

JAKE: Oh, well, you know you can’t blame a reporter for trying.

JULIAN: A doctor isn’t normally the most newsworthy source. The last time I was important to a story was when you were writing a profile of me, right before…

JAKE: Yeah, before we responded to that medical emergency on uh- Ajilon Prime, right?

JULIAN: Yes.

JAKE: I think uh- to be honest, that was the kind of diversion I was looking for for an interesting angle.

JULIAN: Interesting angle?! I’d just proposed one of the most controversial theories of my career – you didn’t think it was interesting enough?! Well no wonder you wrote about yourself! I could’ve explained the theory more clearly if you’d just told me-

JAKE: Yeah, well, you know honestly- you know this really wasn’t about Ajilon Prime and that wasn’t why I changed the story- the focus of the story, Julian. But enough about Ajilon Prime – I want to talk about Cardassia. According to my sources, it is on lockdown. I mean nobody is able to get permission to enter the place or leave the place, from what I heard. And you know Quark told me than Grand Nagus Rom said that business is horrible and he’s completely frustrated. But no one can give me a clear and solid explanation so I was hoping that maybe, you know, given your close relationship with Garak, that um… maybe you could uh- clear things up for me.

JULIAN: Well frankly I’m surprised you were able to get that much information.

JAKE: Interesting.

JULIAN: What is?

JAKE: Well, I mean a second ago when I was bringing up the topic, you know, you seemed a little bit uh- evasive. But now that you know what I know a little bit you seem that you have more that you want to tell me.

JULIAN: Not at all, Jake! I have absolutely nothing further to tell you, other than-

JAKE: Well you’re talking to the editor-in-chief of the Federation News Service, Julian – I know when people are trying to keep a secret from me so… I mean hell, you don’t know what I know!

JULIAN: You’d be surprised – and watch your language.

JAKE: I’m- I’m sorry, I- I just- I just called because I know that there’s issues on Cardassia and… you know, with you being coincidentally called to a medical emergency, and Garak being the Castellan of Cardassia… it didn’t take much for me to kind of do some dot connecting.

JULIAN: Hmm… look, Jake, I really can’t talk about it. Suffice to say, I’ve been called to a priority mission and understandably, I cannot comment on a mission that has only just begun.

JAKE: Julian, I’m not just looking for a story. I want to help. At least I- I think I can help. But I do have an obligation to the truth, and- and I will honor that.

JULIAN: Now that is interesting.

JAKE: What?

JULIAN: You just reminded me of your father for a moment. Had you said ‘looking for a damn story’, I might’ve sworn we were back in his old office.

JAKE: [laughs]

JULIAN: More importantly, how do you think you can help?

JAKE: I heard mumblings about an attempt on Garak’s life a few weeks ago. I had contacted him at his home.

JULIAN: He took your call?

JAKE: Well, you know, Garak checks in from time to time, but in this case subspace communications were a little shaky so he took a call from Bajor’s newly-appointed ambassador.

JULIAN: But you don’t even live on Bajor.

JAKE (LAUGHING): Well, wait a minute, I’m the firstborn of the Emissary so you know, all Siskos are Bajoran citizens. One word from the Kai and I, you know, I kind of landed the job.

JULIAN: [laughs] Well Garak must’ve been surprised to see you on the other side of a diplomatic communicate.

JAKE: Yeah, well, not that he let it on but he did compliment me on my resolution – I think his exact words were uh- [clears throat] ‘Truly the manouver of a Sisko’.

JULIAN: [laughs]

JAKE: Yeah, you know, I told him a source said he might be in danger and… he was alerted as rumor of a coup.

JULIAN: What did he say?

JAKE: Well, he didn’t really say much, you know how he does – he listened, he avoided my questions, he asked about my family, he complimented my last novel and he, you know, he redirected every subject change and then he got me talking about my dad so… I learned more from a rumor than I ever would’ve from Garak. I’ll give him this, though – he’s good.

JULIAN: You don’t know how good. Frankly I don’t even think I know how good he really is.

JAKE: Maybe not but… that’s where it ended, my trail was cold until about fourteen hours ago when I heard that you had left. Anyway, my sources in Cardassia had told me that-

JULIAN: You have sources on Cardassia?

JAKE: Yeah, I have sources throughout the quadrant, Julian, you know that! Anyway, multiple sources on Cardassia said that Garak was uh- hosting a diplomatic conference. He was still trying to smooth things over with the Breen and their trade agreement was developing some cracks, shall we say, along their distribution routes.

JULIAN: Cracks?

JAKE: You know, apparently some Ferengi merchants had sold a couple of Cardassian cargo haulers some second-rate transporter modules, you know, led to some major consignment issues and losses for both sides. They were crying foul, I mean it took some time to figure out who was at fault.

JULIAN: Jake- Jake, this is fascinating, but… what does it have to do with Garak?

JAKE: I thought doctors were supposed to have patience.

JULIAN: Actually, doctors make the worst patients.

JAKE: No, no I’m-

JULIAN: -oh, making a little joke.

JAKE: All right, well I- I was… where was I?

JULIAN: Lost cargo.

JAKE: Right. So the Breen, they weren’t going to get the payments because the cargo never completed the rematerialization routine and basically once they started the transporter sequence, something happened and they ended up with a bunch of organic and inorganic goo all over the place. Cardassians accused the Breen transport captain of deception and vice versa.

JULIAN: Neither race are particularly trusting of others.

JAKE: Yeah, well, that’s right. Um… Cardassians wouldn’t allow the Breen to complete their own analysis and the Breen denied any wrongdoing, so the whole thing is about to become a galactic incident, if Grand Nagus Rom hadn’t been in the middle of an audit-

JULIAN: An audit? Jake, where are you going with this? I really don’t have time.

JAKE: Yeah, yeah I’m getting there, Julian, just bear with me! So being the man that he is, you know, Grand Nagus Rom was completing his annual audit of Ferengi trade practices and discovered uh- the transporter modules were known to be faulty. They came from decaying annex-class prototypes that had been found in an abandoned shipyard. You know, the Ferengi, they came across this stuff and they started scavenging, they tweaked the old module transporter biomatter- I’m sure you’re aware that annex-class ships weren’t known for flawless transporters, and- and those were prototypes.

JULIAN: So you think the Breen tried to assassinate Garak as retribution?

JAKE: Yeah, well, that’s one of three theories that I’ve kind of come by to explain Cardassia’s apparent shutdown. But after this trade embargo, suddenly uh- I don’t know, apparently usage of all medical equipment is subject to state approval?

JULIAN: It doesn’t make sense. The Breen aren’t known for biogenic weapons, they use brute force, with rather advanced weapons technology, but I’ve never heard of any weaponized viruses.

JAKE: Hm… a virus?

JULIAN: [sighs] Jake, I really have to get back to work. If there’s nothing else you can tell me of any use-

JAKE: No, no- Well, just- just let me- bear with me… There’s two other somewhat credible theories that I have that implicate the Andorians and the Romulans.

JULIAN: Romulans?

JAKE: And Andorians.

JULIAN: The Andorians have nothing to gain from Garak’s death.

JAKE: That’s true but their beef is also with the Breen. You know, Andoria’s population and its fleet were completely decimated and they’re still recovering from the Breen assaults during the Dominion War. So, you know, icy moons are not exactly lending themselves to quick procreation.

JULIAN: Well, their colonies are also further apart due to the need for lower temperatures that still fall within the M-class conditions. Plus, Andoria is militaristic – they have great warships, but they don’t devote resources to espionage or underhand methods. Look, Jake, the last time you broke a story about Andoria, you found yourself in front of the Federation Council being threatened with extradition.

JAKE: Yeah… and my evidence convinced them to recall the ambassador before the charges were dropped. Anyways, the Andorians and the Breens may have issues, and the Breens and the Cardassians are resolving this trade dispute-

JULIAN: But the Romulans are the only species you’ve mentioned who have been known to use biogenic weapons.

JAKE: Would they have a reason to want Garak dead?

JULIAN: Well let’s just say that Garak and the Romulans have… past dealings.

JAKE: You mean his past with the embassy?

JULIAN: What are you talking about?

JAKE: Come on, Julian, we all know that he was a member of the Obsidian Order. I mean, he was working as a groundskeeper on Romulus for the Cardassian embassy. He never told you? Garak was no more a gardener than he was a tailor.

JULIAN: Actually, Garak is quite a good tailor.

JAKE: You- you know what I mean. He may be a politician now but as a spy he played many roles. I’m surprised he’s satisfied with, you know, such a quiet life.

JULIAN: World leaders hardly live quiet lives.

JAKE: Yeah, you- you know what I mean.

JULIAN: I do. Jake, listen, I appreciate your insights, at least I have a starting point. If you hear anything else, please let me know.

JAKE: Now that I know where to keep digging I’m sure we’ll be in touch.

JULIAN: Give the girls a hug from me.

JAKE: Julian, one more thing! Sorry, I’m glad you’re still there. [laughs] Before you go I want to say uh- I thought about it a little and I think I’m old enough to say hell now.

JULIAN: You’ll never be old enough to swear, you’re still thirteen! Though I may have some work for you later, I’ll be in touch.

JAKE: Work? A job? No I- I didn’t think I was any really much use at Ajilon Prime – I don’t think you would uh- have any use for me. I couldn’t do any much more than that.

JULIAN: We’ll see. Take care.

ELIM GARAK (ON-SCREEN): Uh, excuse me- are you uh- are you quite finished, Doctor?

JULIAN: Garak? Have you been monitoring us this whole time?

GARAK: Doctor, all communications in and out of Cardassia are currently under my direct control.

JULIAN: Well, we may have a lead.

GARAK: Yes, the Romulans.

JULIAN: You already suspected them?

GARAK: Oh, I’m suspicious of everyone, but- but Jake, you did confirm that specific concern of mine.

JAKE: I’m glad I could help.

GARAK: Indeed. I suspected that the Romulans could be involved. I’ve placed agents on several planets for reconnaissance – only three of the eight are still alive. Never send a boy to do a man’s work.

JAKE: Only three left?

GARAK: Now, remember, Mister Jake, remember, all of this is off the record.

JAKE: Yeah, as long as you’re in danger I’ll respect that.

GARAK: Even after my life is no longer in immediate danger, we may not be able to discuss this particular situation publicly. I’ll- I’ll let you know.

JAKE: Understood.

JULIAN: Garak, how were you able to monitor my communication with Jake? I was barely able to receive his signal at first.

GARAK: I know, I had to run his signal through the same encryption protocols we’re using – it took a moment to reconfigure our local systems to allow us to communicate outside of it. Although your recursive algorithm was a good idea, it never would’ve worked. The bandwidth filter has nothing to do with my encryption protocols.

JULIAN: Five out of eight operatives are dead?

GARAK: Yes, yes, acceptable losses – twenty percent. But this is a bit more, isn’t it? It’s a serious issue, and it requires risk.

JULIAN: Garak, Jake and I figured out in a few minutes of conversation, you really have to learn to trust.

GARAK (LAUGHING): And who would you have me trust, Doctor? An intelligence operative for an alien government and a reporter who shares his secrets as part of his job? Hardly people one should consider trustworthy.

JULIAN: But you have to trust me, Garak.

GARAK: Yes, Doctor, for better or worse, I trust you. But Captain Sisko once told me that the road to hell is paved with good intentions. We all have a weakness, and if it’s the right interrogator who discovers it, the information revealed could devastate sectors of space and destabilize entire worlds.

JULIAN: I never realized you and the Captain discussed philosophy.

GARAK: Well-

JAKE: I never realized you discussed anything with my dad. [laughs]

GARAK: The Captain and I saw each other from time to time – it’s a small station, after all. However, the uh- the good intentions paving the road to hell in this case are the secrets. Knowledge. People see secrets as being malicious little things, but they keep the peace. Secrets are both power and penalty. If everyone was honest, there’d be no need for secrets. If no one shared secrets, the galaxy would be a much happier place. But Doctor, you know the things I know, and in some cases the things we both know are the things we need to ensure that no one knows. Anarchy would reign and the order of the day would be chaos. Trust, especially for people who hold this information, is both a luxury, and a burden of truth.

JULIAN: I hate to admit it, but you’re right.

JAKE: Listen guys, uh- if you ever need to share some of that truth…

JULIAN & GARAK: [laugh]

GARAK: It isn’t, Jake, that I wouldn’t trust you with Mila’s recipes or even- even some wildly outdated intelligence data, but I know you have a hunger for information. And you also feel a great responsibility to let your people know of any threats, and thus, this virus, is a threat. Not only to Cardassians but quite possibly to off-worlders, as well.

JULIAN: Fair point, but Garak-

GARAK: You know Doctor, haven’t we wasted enough time?

JULIAN: You’re right. Jake if you’re willing to keep digging you can focus your investigations on Romulus now. I’ll do some looking myself.

JAKE: I’m on it. [leaves]

JULIAN: Garak, you said that you have holographic systems. An EMH. How sophisticated are your emitters? Could you create some scanning equipment at your location that will be tied into your equipment? By now I suspect you have a closed system like the one you’ve locked your medical professionals up in. Does it have medical databases?

GARAK: I suppose I do and I suppose it does, but… what are you getting at?

JULIAN: Well you were willing to transmit images – if I can’t do the analysis myself, if you had access to the equipment, well, I can at least analyse the results.

GARAK: You- you know Julian, that really hadn’t occurred to me.

JULIAN: Oh yes, well, you wanted the best.

GARAK: That enhanced brain of yours rarely ceases to amaze me.

JULIAN: Let’s get started. We’ll likely need standard biobed with an [uncertain] scanning interface. I need to map your cerebrum to see if we should expect any issues with reasoning. A portable retinal scanner too, will help identify any changes in blood pressure or possible sensory complications. The biobed will also monitor your cardiopulmonary system, which should give me a look at your heart. We may be able to slow the progression until we have a cure.

GARAK: It’s a good thing I had a PADD nearby, Julian – that’s quite a list. With no EMH to conduct the scans, it will take a few minutes.

JULIAN: Well contact me when you’re finished, I want to see if Jake has learned anything.

GARAK: Very well Doctor, I’ll contact you shortly. [leaves]

JULIAN: Jake? Jake?

JAKE (ON-SCREEN): Julian. Yeah, Garak had more than a few enemies on Romulus. There was a proconsul Mirok who opened- who opposed opening diplomatic relations with Cardassia at all. He was poisoned. Uh, subcommander named Ustard, who was the Chief of Staff for the Romulan ambassador. Ustard died in a transporter accident beaming to the Romulan Senate. And the ambassador, well, we all know about the ambassador.

JULIAN: We do indeed. But they’re all dead. Are you suggesting this is a vendetta from someone related to one of those people?

JAKE: Well, anything is possible. I’m more suggesting behavior.

JULIAN: I suppose. But Garak was assigned there – it’s not like he goes around killing Romulans.

JAKE: No, but it sounds more to me like he may have been ordered to kill Romulans… Did you ever meet a Senator Varak or… Vreenak on the station?

JULIAN: Should I have?

JAKE: Well, not really but, you know, Quark would sometimes sell me little tidbits of information. Now let’s just say, I take the occasion break from the uh- Dabo wheel and he would tell me things. Now one of the things he told me about was a Senator Vreenak, who apparently visited the station before the Romulans joined the Dominion War. Now Senator Vreenak… maybe- maybe he was working with my dad to have some kind of negotiation into the entry into the war… I don’t know, I’m not sure, but you know shortly after he would’ve left the station, he… he was lost in a shuttle explosion.

JULIAN: Vreenak also negotiated the non-aggression pact for the Dominion. It’s quite a chance of alliance.

JAKE: And he’s dead.

JULIAN: [sighs] I suppose it’s possible that the Romulan government, or the Tal Shiar for that matter, could be playing a rather long game.

JAKE: Garak is the leader of the world- of his world, you know, Cardassia is in a much better place now and you know, they may even someday join the Federation, who knows? We have a level of isolation to get over but-

JULIAN: Koval.

JAKE: I’m sorry, what?

JULIAN: Jake, I have to go – keep digging. If you hear anything else, let me know.

JAKE: I’ll be in touch.

JULIAN: Thank you.

[pause]

JULIAN: And Garak! If you’re listening, which I expect you are – medication, rest. I’ll contact you shortly.

[fade to black]

[CREDITS]

[antimatterpod]

Transcript - 70. Clinton-Era Star Trek

Liz: And why are we passing up an opportunity to criticize Rick Berman? We love that shit!

Anika: Let's always criticize Rick. Definitely everything wrong is Rick Berman.

You can listen to the original episode here.

Anika: Welcome to Antimatter Pod, a Star Trek podcast where we discuss fashion, feminism, subtext and subspace, hosted by Anika and Liz, and Cali the cat. This week we're discussing the pilot episode of Star Trek Voyager, "Caretaker".

Liz: So it's the 35th anniversary or something. No, that cannot possibly be it. 25th?

Anika: 30th. 30, isn't it?

Liz: No, I was thirteen when I first saw it, and I'm thirty-eight going on thirty-nine. So it's got to be the 20th. Right? No, 25th...

Anika: No, it's definitely not -- um, it could be 25th. Because the 20th, I did a panel for the 20th. And that was probably five or six years ago?

Liz: I feel like 1996 plus 25 might be 2021?

Anika: I don't know! Math!

Liz: Welcome to Antimatter Pod, the podcast where we don't do maths.

It's the 25th anniversary of "Caretaker", and I'm really really curious to know, when was the first time you watched it?

Anika: I don't remember! I remember watching "Emissary". I did not see "Encounter at Farpoint" first, I saw it, years after having seen Next Generation.

Liz: Which is really the way to do it.

Anika: Yes. And Enterprise, also, I have no actual memory of watching the pilot, but I probably did. I probably watched Voyager and Enterprise live, but I don't actually have a good handle on it. If it was 1995, I was -- yeah, I didn't have a Star Trek group at that point. I was in college, you know, so I was, like, making new friends.

Liz: You weren't ready to unleash the full force of your geekiness?

Anika: Yup. I mean, I was a ridiculous person, you know, there's no way that I wouldn't have been known as a geek by pretty much everyone.

Liz: I actually have very vivid memories of the first time I watched "Caretaker", because I received it on VHS as a Christmas present the year I was thirteen. I really remember how much I liked Janeway, and I wished -- like Kate Mulgrew has a very unusual voice, and that was sort of everyone in the family's reaction. And I'm like, Yeah, it's a weird voice, but I love her, shut up.

And the next day my parents' marriage ended, so...

Anika: Wow. Okay!

Liz: I don't think these things are really connected. But in my mind, and in my heart, they very much are.

Star Trek wasn't really my main fandom at the time. TNG had ended, and I was very deep into having feelings about seaQuest DSV. So -- there are probably still dozens of us.

Anika: I loved that show.

Liz: It was so great. We could talk about my OTP for seaQuest next. But yeah, that was my first encounter with Voyager, and I didn't really become a capital letters Voyager Fan until a few months later, when we accidentally got season two videos.

Anika: Accidentally. Yeah, I don't know. It's a good pilot episode. Not a good episode.

Liz: I want you to expand on that.

Anika: So the thing about pilots is, there are very few good ones out there. It's really hard to introduce a show in a way that isn't cliched, and isn't, like, a bunch of people expositing about everything you need to know about them to each other. It's a -- it's hard. It's hard to do it well.

Liz: Yes. If you want to see a bad pilot, I highly recommend the pilot for Babylon 5. It is unwatchably bad.

Anika: Voyager still has plenty of pilot problems, like, "Caretaker" still has plenty of pilot problems, but they cover a huge amount of ground. They introduce so many things, and when you think about all of the stuff that has to happen in this episode versus, say, "Encounter at Farpoint", which is really just a bunch of people introducing themselves to each other -- that's literally all that happens in "Encounter at Farpoint".

Liz: And not even by name.

Anika: And then Riker watches what happened in the opening scene? I mean, that is a terrible, terrible pilot, and a terrible episode.

Liz: My friend and their partner have decided to start with Star Trek at "Encounter at Farpoint". And I'm like, I love you. You are good people. You don't deserve this.

Anika: Don't do it! No.

But -- so what I like about "Caretaker" is that everyone except B'Elanna -- and I will tell you more about that in a little bit. But everyone except B'Elanna has an introduction that is not them introducing themselves to each other. Or to the audience. They don't stand and say, "Hello, I am Harry Kim."

There's like little bits and pieces, like the -- what we learned about Harry Kim is what Janeway says about him to Tuvok, you know. What we learn about Tom Paris is that, you know, he's in prison. And the first time we see Janeway is Tom looking up at her, and it pans up and she's got her hands on her hips. And she's like, "Hey, I'm totally in charge, and I'm here with Obi Wan Kenobi to rescue you."

So it does pilot things. We get that there is tension between everyone and Tom Paris, like, literally everyone and Tom Paris, there is tension. And we get that there is tension between the Maquis and the Starfleet people, we get that Janeway and Tuvok have a very close, established relationship. Like, there's a lot of established stuff going on?

The Janeway and Tuvok stuff is so much better than the Picard and Crusher stuff, like, I can't even -- they're worlds apart in terms of how they play.

Liz: And not just because the language of setting up a platonic friendship between a man and a woman is different from setting up a romantic tension. Seven years have passed, and the writing is different. And Janeway -- the woman is the one in a dominant position. And it's just better.

Anika: It's just better, it's just better. But the actual story is not. Like, the whole Caretaker thing, it's clearly a plot device, it's very deus ex machina for "we have to get them lost in the Delta Quadrant. Like, we have to get them to the Delta Quadrant, and then we have to get them lost here."

And so, while it is entirely Janeway's choice, she's the only one with agency. She takes it away from everyone else. There's no meeting to discuss any of these things. And it's all very driven by this "there was, a guy, an ancient guy who, like, steals people and keeps them as pets. And his favorite people, like, he needs to" -- it's just ridiculous. Like, he's seeding himself so that someone -- so his child will be stuck with this horrible job of taking care of his ant farm of Ocampa.

Everything about it is bad. Like, nothing in that whole story is good. He's a bad person. And it's so wildly ridiculous. Like, he dies before they can even begin to understand how any of it happened? Like, they just blow up the array?

Liz: It's sort of like the writers going, "Oh, shit, we really don't want to ask too many questions about this guy, we'd better kill him as fast as we can."

Anika: Exactly. So. So if you start to think about this story at all… Being a pilot that introduces you to these characters and this situation, it's bad. But if you're just watching to be introduced to these characters and this situation, it's good.

Liz: I have never thought about it in those terms until you said this in our preparation, but I think that's a really, really good point.

And I'm going to confess that I have not re-watched "Caretaker" to prepare for this episode because I have seen it so many times, I can quote big chunks of it by heart. And, honestly, it's actually not that rewatchable. Deep Space Nine is not my favorite Trek, but I have seen "Emissary" so many times, and I enjoy it every single time. After a while, watching "Caretaker" starts to feel like a chore.

Anika: Yeah, because what's actually happening is not interesting.

Liz: Yeah, yeah.

Anika: And it's just full of holes, and I just get mad at everybody if I start thinking about it.

Liz: That's before we get into the bit where the Kazon exist.

Anika: Oh, the Kazon. They tried so hard to make the Kazon happen. And it just never happened.

Liz: Re-watching season two for my blog, I was struck by the fact that, with a different writing team, the Kazon could have been really fascinating and nuanced and interesting. And instead, it's basically white people having a moral panic about Black people. You know, they explicitly said that the Kazon were, like, "They're based on East Los Angeles area gangs!" And I'm like, Sure, okay. That's potentially interesting, but you're all white people. And, you know, we find out that thirty years ago, they freed themselves from slavery. And that's why the--

Anika: Thirty years!

Liz: I know! I know! That is my own lifetime! [But] that's why they're low tech and dysfunctional and desperate. And they're not given even an ounce of empathy, or sympathy, or even consideration. Even "Initiations", which I think is a good episode, and certainly, by far the best Kazon episode, there's just -- there's one good Kazon, and that's it.

And I do think part of the problem is that we never see their women, we never see them in any situation other than hostility. But mostly, I think the problem is that the writers are racist.

Anika: And the one good Kazon is a kid.

Liz: Yeah, yes.

Anika: It's almost like it's like a white savior -- or a Chakotay savior story, you know, like, Dangerous Minds--

Liz: Yeah.

Anika: -- where Michelle Pfeiffer goes into the inner city to save it.

Liz: The mental image of Chakotay as Michelle Pfeiffer is amazing. And yeah, that is a really messed up genre, and the only good thing it ever gave us was "Gangsta's Paradise".

So, yeah, that limitation in the perception of the Kazon is built right there into this pilot. And a lot of people go, you know, "It's so stupid how they have spaceships and they don't make -- they can't replicate or create their own water." And it's like, this would have been a great opportunity to explain some of their history instead of going, "Surprise! It's actually really racist!" a season later.

Anika: Yep. It's just really bad. Everything's bad about the Kazon. They're not great. They're not good villains. And anything -- every time they are almost interesting, they're almost instantly not interesting and/or racist at the same time.

Liz: It troubles me that the series with the first female captain is also the first series where sexism and misogyny are treated as anything other than a joke. We've had the Ferengi for years, and it's always been, "Haha, they like women to be naked." And it's only now that suddenly these writers are forced to empathize with a female character, that they're like, "Oh, maybe that attitude is ... bad?"

Anika: Maybe it's bad. We never see a Kazon woman.

Liz: Right, are they living in -- is it a Kazon Handmaid's Tale thing? Or are they warriors in their own right? Do they have their own politics? Are they trying to pull the strings from the background and maybe doing so more successfully than Seska because they're further in the background? We don't know. We'll never know.

Are we the only people who look at Star Trek and go, but what if the Kazon came back?

Anika: So we're definitely the only people who look at Star Trek and think, what if the Kazon came back?

But Cullah was almost an interesting character. And, really, the most interesting he ever was was when he took the baby, and, like, cared. That he cared about any of that happening, that he cared about Seska dying. It was like, Oh, my gosh, this is a real relationship all of a sudden. So it's just interesting. And they had a lot of interesting Macbeth scenes that were fun, that could have been so much better if they'd leaned into that instead of what they did.

Liz: Yeah.

Anika: But we're we're getting beyond the scope, because we're supposed to be talking about "Caretaker", and Cullah is not even in it

Liz: Turns out we could do a whole episode on the Kazon

Anika: Whoops!

Liz: That's really gonna get the listeners.

Anika: Let's talk about our first impressions of the crew.

Liz: So the scene where Tom looks up, and there's Kathryn Janeway with her bun of steel and her hands on her hips, and, you know, in her very first scene, she tells us that she was a scientist before she was a captain. I fell in love.

And yet, the pilot is really eager to tell us that just because she's a woman in command doesn't mean she's ... not a woman.

Anika: She has the world's most boring fiance.

Liz: Oh my God.

Anika: I hate -- like, my favorite part is that they're talking, they're facetiming on the viewscreen and all, and she's lliterally doing work while talking to him. Like, this is the last -- and they don't know that it's gonna be the last time for seven years, or whatever, but it's still gonna be months. And yet, she's just doing her work, and he has to tell her to look at him, which is hilarious. But he's also -- he's so milquetoast, I don't care.

Liz: He's just sort of your standard extruded Star Trek male love interest.

Anika: And then there's puppies. She loves her dog.

Liz: She loves her dog. She likes to be called ma'am rather than sir. It's a very 1990s "don't be too threatened" scenario, which is interesting, because you contrast that with Major Kira, who, I think, as the second lead, rather than the primary lead of the show, has more freedom to be abrasive, and unlikable, and unfeminine.

Anika: Yeah. But even in Deep Space Nine, like, Jadzia is super feminine. In presentation, at least, and the more it goes on, she gets -- the more they were like, "Don't worry, we also have this pretty one." Like, Nana Visitor is gorgeous, just, you know, don't yell at me. But--

Liz: After the pilot episode, she went and cut off her hair into -- it's not even a pixie cut. It's a really butch style. And she did that without getting the permission of the producers. She was just, like, that's how Major Kira would have her hair.

And then, over the next seven seasons, they worked really, really hard to force Kira into a feminine mold.

Anika: You're right, they absolutely do it to Janeway [too]. She has that whole Jane Eyre holoprogram thing that -- everything she does in her free time is, like, from the 19th century. It's just very weird. She's super old fashioned in her forward thinking scientist future ladyness.

Liz: I think a lot of that is down to Jeri Taylor, and the fact that she was already, for the '90s, older than the generation of feminists who were defining the movement at the time. I realized once that she's only a year younger than DC Fontana.

Anika: It's interesting. Kate Mulgrew was forty when she started Voyager, but according to apocrypha, she was playing five years younger, like, she's not supposed to be forty.

Liz: No, I've heard that too, that Janeway was meant to be about thirty-five. Which, I mean, I guess? Maybe?

Anika: [What that] means is that she is admiral super young. That's what I take out of it. So good on her. It's just weird. It's like, why? I don't know. It's just very Hollywood. It's very, "Oh my gosh, we can't have a forty-something woman in a starring role. We can't possibly do that. So, okay, we got this one and, and we're gonna go with her, but she's not really forty. You can still be attracted to her. You're allowed, everybody."

Liz: You know, "We've got her in a corset so she's thin, and she's in high heels so she's tall and she'll walk in a sexy way."

It really struck me, the first time I watched Discovery, the first time I watched "The Vulcan Hello", how feminine and comfortable Michelle Yeoh looked with her hair in a ponytail -- and it's a very loose ponytail -- and she's wearing flats. I was like, Oh my god, this is what Janeway could have been.

Anika: Right.

Liz: Now, I know that the next character on our list is Chakotay, but I think we should talk about Tom, because he and Harry the POV characters for this pilot. It's sort of telling that Chakotay is sidelined from the beginning.

Anika: I always say that there are three co-protagonists in this pilot. Tom, Janeway, and Kes are the people who have a point of view and an arc.

Liz: Yeah, you're right.

Anika: And everybody else is just sort of in their orbit.

Liz: Even Kes barely has agency.

Anika: It's a giant cast, so they couldn't -- and again, B'Elanna is not -- like, the B'Elanna that I know and love is not in this pilot. She's just not even actually there. There is a B'Elanna in this pilot, but it is not even close to who she is. And she's barely on screen. She's just an angry Klingon lady, that's all she is.

Liz: Who almost flashes her whole boob in one scene.

Anika: But she immediately -- like, the very next episode is a B'Elanna episode. So it's sort of like, "We didn't put any effort into her in the pilot, because we're gonna, you know, we're gonna have a whole episode about her. It's gonna be okay." And it's great, "Parallax" is a way better story.

Liz: Yeah, I don't think that's necessarily a bad choice. That's like Discovery taking six episodes to introduce it's whole cast. And I think B'Elanna is better served by that, but it's interesting how objectified she is in this story.

Anika: Yes.

Liz: To get back to Tom, I listened to the Delta Fliers episode on "Caretaker" when it came out. I'm sort of at peak Star Trek podcast, so I've gotten behind on them. But that's Robert Duncan McNeill and Garrett Wang talking about their memories of each episode. And--

Anika: It's very fun.

Liz: --among the things that I enjoyed were Robert Duncan McNeill calling himself out for how sleazy Tom is towards women, particularly Janeway. But he blames himself and I'm like, I'm pretty sure you are following a script, dude. Like, this is not your responsibility.

But also, he says at one point that Tom Paris was considered as a potential love interest for Janeway, and that they were going to cast someone older for the role.

Anika: I've been saying that since the beginning. Janeway and Paris, as we all know, are my OTP of Voyager. And I'm not off that! I ship that! Like, I ship literally everything. But it's always going to be -- Janeway and Paris are going to be the most important to me, in terms of Voyager characters, just partly because, again, I was, what, 20? And I -- not even--

Liz: Yep.

Anika: It was formative, you know, it's like, I loved Voyager so much, and I loved Janeway and Paris. The first fan fiction that I read and wrote was Janeway and Paris. Iit's just gonna be them.

And so the idea that they were ever considered, quote, unquote, canon, it just makes me feel like I wasn't a crazy person reading into the entire first two seasons.

Liz: No.

Anika: I firmly believe that you can see a relationship behind the scenes in the -- you know, up until he starts having a thing with B'Elanna.

Liz: No, in fact, there's a point in season two where Robbie is like, "I think this is around the time they stopped pushing Janeway and Paris and started moving towards Janeway and Chakotay."

I found that really interesting, because the other thing that we know about the development of Voyager is that they always wanted a Nick Locarno type of character. They always wanted Robert Duncan McNeill in the role. And, honestly, that doesn't mean that they never considered casting someone older. We know that there were legal issues with having the Nick Locarno character, and that's why he's Tom Paris.

And, you know, it's like how they auditioned men for Janeway and women for Chakotay at one point. Like how DS9 auditioned white men for Sisko, you throw everything at the wall and see if it sticks. But I think the AU with an older Paris would have been interesting.

Anika: I'm fine with it as is. I like the ten-year age gap, personally, but I don't even mind -- I wouldn't mind the five-year if she's really thirty-five. Whatever, fine. Then we're closer to a five-year age gap. But I like the idea of her, like, meeting him when he was a kid and then forgetting that that happened.

Liz: Not giving him any thought, and then meeting him as an adult and going, oh.

Anika: "Whoa."

Liz: Yeah. That would have been really cool because it's a sort of borderline creepy storyline that we see a lot with men and younger women. And I don't remember ever seeing it with women and younger men. And I like an age gap, and I like a relationship where there -- there are problematic elements to be negotiated.

Anika: Yes, exactly. Oh, my favorite things.

Liz: But also I think Tom Paris in the pilot is a deeply terrible person, and I hate him.

Anika: Oh, yeah.

Liz: So many of my friends are watching Voyager for the first time and going, Wow, Tom Paris, he is the worst. And I'm like, Yeah, but wait a few seasons, he's going to be the suburban dad of everyone's, I don't want to say everyone's dreams, but he's going to be peak suburban nice dad. And it'll be great.

Anika: You said that Robbie says that he blamed himself for being skeezy -- see, I give Robbie all the credit for him not being skeezy. I'm on the other side, where I really feel like they tried, they tried to make Tom Paris that guy, the guy that I don't ever like and never want in my Star Trek, and they keep trying to put him in Star Trek. Like, every series has that guy. And it was Tom Paris.

And he was just not capable of playing it. He put so much warmth into these horrible lines and situations that you couldn't -- you couldn't read it that way. And so there was, like, oh, there's something deeper here, he's not just hitting on people, he's lonely. He's not just, like, he's not getting, you know, doing -- he's not trying to hit on the captain in her pool [game] or whatever, he's actually trying to make a friend. He's telling her that she matters to him because she's giving him these second chances.

I read all of my Janeway/Paris stuff into these early seasons where he has horrible storylines, because the actors aren't acting like he's a skeevy, horrible person.

Liz: No, and all of Tom's good qualities are -- or seem to be -- Robert Duncan McNeill's good qualities. You know, he's open, he's generous. He's kind of funny, kind of a dork, but self-aware about it, and very passionate about holding up the people that he loves. That seems to be Robert Duncan McNeill. And that is who Tom Paris becomes.

But I also think, like, what you were saying about how he's not flirting, he's trying to make friends, I also think that his background in terms of having neglectful and emotionally negligent parents, he needs people to like him. And if the only way he can do that is to make them attracted to him -- to build an attraction -- that's the strategy he'll use.

Anika: It's such a psychological thing that really happens, and again, often with women.

Liz: Yeah.

Anika: I gotta say, this might be a good place to say, where Voyager does an incredible job of giving all of the men various feminine traits or, like, you know, stereotypically woman-centered things that happen--

Liz: Right, right, Chakotay is sensitive and domestic. And Tuvok defines himself to a large degree by his parenthood, and Neelix is the cook, and the Doctor is a caretaker, and Harry -- with Harry, I feel like a lot of it's bound up in anti-Asian racism, to be honest, and the emasculation of Asian men. But he is another very sensitive and gentle guy who doesn't really like -- he likes to be romanced, he doesn't like to be seduced.

Anika: It's great. And then, you know, the women -- we get B'Elanna in the engineering role. And she's also angry all the time.

Liz: Yes.

Anika: And Janeway is a scientist and in charge, you know, she's the authority.

Liz: And Seven -- Seven, when she's comes, in is sort of her own thing altogether. But she's the Spock. She's the Odo. She's the Data. And it's notable that the most classically feminine of the characters is Kes, and she's the one who is treated as a failure and discarded and in the fourth season.

Anika: Yeah. They don't know how to write for her, is what it comes down to

Liz: I think it's that thing where they don't know how to empathize with women who don't act in some way, like men. And this is all very binary and very steeped in stereotypes and generalization.

Anika: But it's very '90s.

Liz: It is so '90s.

Anika:

I can say, as a child of the '90s -- I can still call myself that -- that it's what we were grappling with. Like, the '80s were -- there was this whole power fantasy stuff, right? And then the '90s were, you know, grunge and riot grrrls. And so there's just -- this show, like, yeah, it's using all those stereotypes, and so that's why I'm calling them feminine traits. I don't think that cooking or being a good parent or having soft hair or being a musician is feminine in any way.

Liz: No, but we are dealing in stereotypes.

Anika: It's gender coding. That's what I'm talking about.

Liz: Relatedly, one of the reasons Janeway's character is considered 'inconsistent', and I'm using air quotes because I don't think that's actually -- I don't think she's the worst in terms of inconsistent writing and Star Trek captains. But -- (Archer) -- but part of the reason for that--

Anika: My trash boy.

Liz: --is that all the writers had a different feminine stereotype or archetype in mind when they were writing Janeway. Some people saw her as a schoolmarm and Jeri Taylor saw her as an earth mother for some godforsaken unknown reason. And it seems like no one was really able to go, "Hey, what if we get past the stereotypes and archetypes and just write her as a ... person?"

Anika: It's just bad. And it's true. There are definitely inconsistencies where she -- the one that I always point out is that she has this super faith thing where she literally has a scene where she explains the concept of faith and God to Harry Kim. And then, a season later, she has to go save Kes from whatever horrible thing is holding Kes hostage.

Liz: And suddenly she's a TV atheist.

Anika: Yeah. And it's like, what are you talking about? That is not Janeway. It's just wrong. You can't have it both ways. And so there are inconsistencies.

I think you're right, that it's a problem with different people having -- like, putting different ideas of who Janeway is onto her.

Liz: And certainly, Archer is at his worst when they try and force him into an equally narrow masculine box.

Anika: Yeah. Right.

Liz: So, the patriarchy. It hurts men too!

Anika: But I do think that, yeah, Janeway isn't alone in her inconsistencies. And I also think, of every Star Trek character, or every captain, she has the most reason to be inconsistent.

Liz: One hundred percent. Because she's the only one--

Anika: She shouldn't be--

Liz: Yeah.

Anika: She shouldn't be consistent when she's holding the entire, like, the idea of Starfleet and the Federation herself. She's gluing it together in a place that doesn't know what any of those words even mean.

Liz: And she can never get a break. Picard can take a holiday and go to Risa, and wear skimpy shorts, and have a fling, and have adventures. Janeway has to do all that in the context of her ship.

Anika: Right. And she's always captain. She never gets to not be captain, even if she's in the holodeck hanging out.

Liz: Yeah. Basically, Voyager is 2020, and Janeway is working from home.

Anika: So I cut her a little slack.

Liz: Hah, I cut her a lot of slack.

Anika: And I write into my own little headcanons that it is all of this psychological stuff that she's dealing with. Uou know, I say, Oh, well, she was depressed then, so she was making these choices. So.

Liz: Honestly, Janeway makes sense to me. There are inconsistencies, but she holds -- like, she feels consistent emotionally. And that's what's important.

Anika: Right.

Liz: Let's talk about Chakotay, who you've described here as the most stereotypical Native character ever.

Anika: It's just really sad.

Liz: I -- yeah.

Anika: Like it's sad on every level, because now, creating a Native character now, which they should definitely do, but putting that character into Star Trek, that character automatically is stuck with the Chakotay baggage. And that's just so upsetting. We're never going to get this clean, quote unquote, Native character, because of this mess that we got with Chakotay, where he -- like, it was already bad, the TNG episode isn't any better. That episode is really bad.

Liz: That's the episode "Journey's End", which sets up either Chakotay's home planet or one very much like it, colonized by Native Americans, because that is absolutely how Indigenous people work.

Anika: So bad. And then they get kicked out, kind of like in Picard, you know, Starfleet's like, "You gotta leave now, because the Cardassians own this place." And it's like, but they don't really? And no one really does?

So, right, it puts them on the wrong -- it's just all it's all bad. It's all bad. And it's all very much a white person writing what they think an Indigenous person is.

Liz: Right.

Anika: All it did the dream watching, and--

Liz: The vision quest...

Anika: --none of it is true. That's where I end the sentence, none of it is true to the idea of an Indigenous character. And it's just it never gets good in Voyager. I want to like Chakotay, and I have troubles.

Liz: To their credit, they hired a consultant. Unfortunately, the consultant was a white fraud, a Native faker, who was already notorious for being a fake, and Native American groups had been warning Hollywood for years that he was actually a white guy. So they start off on a bad foot.

They audition a lot of Native American actors and decide they're too, quote unquote, on the nose, meaning too Native American. So they cast Robert Beltran, who is a very talented Mexican American actor, who doesn't seem to have any Native heritage. I don't know how Indigenous identity in Mexico works, but to my knowledge, he doesn't really participate in Native culture, or anything like that. So, yeah, they just went for the nearest brown guy, basically.

Anika: And the thing is, if he was Mexican American, and not Native, that would be better,

Liz: Right, or just a Mexican American character who has some Native heritage that he is learning about, like, that is a really interesting story. But like, so much of it is dated even for 1996.

Anika: Right. That's right, exactly.

Liz: I remember as a kid cringing every time they use the word Indian, because even then I knew that the new and appropriate term was Native American. And just the whole "I hear in some tribes, if I save your life, you belong to me" -- that's a setup for a slash fic. It shouldn't be canonical.

Anika: Yeah, everything about poor Chakotay is poorly done. And the further we get from Voyager, like, the more time goes on, the -- [it gets] more blatantly bad. It really starts to stick out.

Liz: I understand what you're saying, that everything they do from now is tainted by what they did with Chakotay. But I really do think that new Trek, the Trek Renaissance, needs Indigenous representation.

Anika: They should definitely do it.

Liz: Yeah, like Discovery films in Toronto and there is no shortage of hugely talented Native Canadian -- I think it's Canadian Aboriginal? Of Indigenous Canadian actors. And and, obviously, Evan Evagora in Picard is half-Maori ... but he's playing a Romulan, so.

Anika: I'm not saying they shouldn't do it because of all this baggage. I just feel sorry for the actor.

Liz: Yes.

Anika: I feel badly for the person who has to deal with it.

Liz: Also because they're inevitably going to end up on panels with Robert Beltran, and honestly, he seems like a dick.

Anika: Everything I've seen of Robert Beltran has been very, like, dismissive, I guess, is the best way -- like, when people bring up to him that, you know, maybe it wasn't the best representation of an Indigenous population, he sort of gets defensive and doesn't listen.

Liz: Yeah.

So let's move on to the greatest character in all of Star Trek...

Anika: Tuvok?!

Liz: Tuvok! Yes.

Anika: I have a Tuvok standee in my house now. I love it. It's just -- Tuvok is amazing. Best Vulcan by far.

Liz: Yes.

Anika: His relationship with Janeway is so precious to me. I just love everything about it. I love how warm it is right off from the beginning. I love that he is just as -- he does crazy stuff for Janeway, the way that Kirk does crazy stuff for Spock. It's that same level of "that's insane," and I love that. I love that they have that relationship. And I'm forever sad that they are the least represented in fan fiction. Like, even, like, platonic. I'm not saying -- I do, I would ship them. But...

Liz: But we don't even have fic about them having adventures.

Anika: Right? There's just -- I mean, Tuvok, yes, best character in Trek. Chemistry with everyone is highly -- [but] he's the least represented in Voyager. It's very upsetting to me because it cannot not be racism. There's just -- I don't have another explanation for why Tuvok is so ignored.

Liz: I have a theory, but I think the primary reason is indeed racism. But I also think it's that Tuvok enters the series as a man who already knows who he is, and his regrets are mainly behind him, and he doesn't really change much over the course of the series, save that he unbends to an extent to reveal his affection more than he did at the start. But, on the whole, he's not the most dynamic character.

And I love that about him! I love his stability, I love the respect that he has for everyone, even Neelix, who often doesn't deserve it. And I think he is a character who is almost the heart and soul of the show in a way that's easily overlooked because he is entertaining and fun to watch with every single other regular character.

When I put it like that, the only reason he is overlooked -- aside from -- like, I really do think a lot of it comes down to racism

Anika: Yeah, he absolutely is stable. And he absolutely does -- he's a supporting character in every way? He supports, but it's sort of like, so shouldn't he be supporting people? Can't we still write fic about that? I don't understand.

Liz: Now I'm thinking that if he was a white guy, he would probably be the male bicycle of the cast. Like I realized the entire cast minus Neelix is basically the bicycle, but now I'm side-eyeing fandom extra hard.

Anika: I just love Tuvok so much. And I have written Tuvok, but I've definitely written for January and Paris. So I'm also part of the problem, I guess.

Liz: I will confess that I completely overlooked him until my current rewatch, so I am not excusing myself from anything here.

Anika: I try to give him, you know, his due, at least in my ensemble fic. I don't actually write much Voyager fic right now.

Liz: No, no. I haven't for years

Anika: And also T'Pel, too, I'm, like, on a mission to give T'Pel literally any characterization whatsoever.

Liz: Someone somewhere out there is going to write me a Janeway/Tuvok/T'Pel fic, and I'm going to be very grateful.

Anika: Nice.

Liz: We're almost at an hour. Let's talk about Harry Kim. Every time I watch "Caretaker", I'm blown away by how beautiful Garrett Wang is, and the floppiness of his perfect '90s non-threatening boy hair. It's magnificent.

Anika: That's absolutely true. One of my photo caps, he just has amazing hair. One shot, you know, my, like, tagline for Janeway is that her hair is fabulous. And I was like, Oh, HIS hair is fabulous, and I compared it to Poe Dameron.

Liz: Oh, no, you're not wrong. I said something in my "Q and the Gray" post about how the only redeeming feature of that episode was Harry's floppy hair. And then I mentioned that when I linked to it on Twitter, and Garrett Wang replied, and I -- I cannot be acknowledged by the actors in that way. Like, I want to objectify you, you don't get to respond. This is a one-way relationship.

Anika: Poor Harry Kim. Harry Kim is another one who is routinely overlooked by fandom. But unlike with Tuvok, there are like the rabid Harry Kim fans who will come to his defense and do write him, usually with Tom, but--

Liz: I understand that there is a thriving, powerful of Tom/Harry shippers, and I don't ship it, but I fully respect them.

Anika: And so he has his own little corner, I guess, of the fandom. But it is still true that, in wider fandom, if you're gonna ask non-Voyager fans -- but Trek fans -- they'll point out Harry Kim as a waste of space, that he has no characterization whatsoever--

Liz: Lies!

Anika: --that, literally all they know about him is that he was never promoted during the series. And it's just, it's gross.

Liz: Which is, again, racism.

Anika: Which is just really bad.

Liz: Because Rick Berman did not like Garret Wang.

Anika: Exactly. What I do when I'm watching Voyager, and I really saw it -- like, Voyager actually does a good job -- you know how we were always complaining about making the bridge crew annoyingly prominent in Discovery? Voyager does a really good job with their giant ensemble. And to be fair, they're all like actual regulars.

Liz: They are, which I do think was a mistake.

Anika: They're supposed to be prominent, but little things. Like there's this great part where we learn that Harry wears a mask to sleep, and why. And, of course, he has his clarinet and his love of music, that he, saved up replicator rations to make a clarinet because he left his actual one at home.

And he has his fiancee, and when he is in that little bubble reality where he's back on Earth, and he has like a favorite coffee place, and he has a favorite coffee order. And it's like, those are the details that I want. You know, they're like throwaway -- not important to the plot. They just tell you who Harry is.

Liz: And what he values.

Anika: And he's a really sweet guy that cares about community, and knows people's names, and pays attention to little things. I don't understand the criticism that Harry Kim doesn't have character, because he has so much character.

Liz: What I don't get is this idea that Harry Kim is bad with women. He is wildly successful with women. He just finds it uncomfortable when women come at him aggressively. Like--

Anika: Yeah!

Liz: --that's it. And I think, again, this memetic idea that Harry is bad with women is racist, because it comes up in the script, and people accept it as reality, but it's not remotely true.

Anika: It's not true. And it's weird. He has plenty of little one-off relationships.

Liz: Right!

Anika: It's strange. It's strange. And also this idea that he's not promoted. That's not on Harry.

Liz: No. That is, in universe, on Janeway and, in reality, on Rick Berman

Anika: Right.

Liz: And why are we passing up an opportunity to criticize Rick Berman? We love that shit!

Anika: Let's always criticize Rick. Definitely everything wrong is Rick Berman. And, you know, all of them. Brannon Braga and Jeri Taylor aren't -- they're better than Rick Berman, but they aren't great.

Liz: No, no, I'm very fond of Braga because I share his tastes for weird science fictional time travel stuff. Buuuuuut...

Anika: There's stuff. There are things that are questionable. And obviously Rick Berman is a trash person and not the way that Jonathan Archer is.

Liz: No, he is a trash person in the low level #MeToo way.

Anika: Right. But back to Harry.

Liz: Yes.

Anika: Harry had a fiancee, so I don't exactly understand how he's bad with women. And in the new Janeway autobiography, he gets back with her.

Liz: Oh, nice!

Anika: I was like, Oh, that's actually -- like, I always sort of I make fun of [Libby] almost as much as I make fun of Mark, but that's really not fair to Libby, because she--

Liz: She has a personality.

Anika: In the one episode we get with her -- yeah, she has a personality, they actually have a really sweet relationship that I'm sort of, like, I can cheerlead that, you know? And since I don't like any of his canon relationships in the show, it's like, sure, he gets back together with Libby. They have a happy life, that's great.

Liz: Yeah, I love that for him.

Anika: I'd also -- while we're because we're allegedly talking about "Caretaker"--

Liz: Oh, yeah.

Anika: The pet names, the way that B'Elanna and Harry call each other Starfleet and Marquis, every once in a while it comes back up, and every time I'm happy, and I love their relationship the way that it -- like, it's not actually in the show. But their relationship that is seen in those tiny moments where they call each other by these pet names, and they support each other and, like, share, Tom is really great.

I just wish that they had built on the potential of those characters and that relationship, and that we got more of that friendship.

Liz: And it really feels like they were setting the groundwork for a canonical romance. And I have to believe that the only reason they didn't go through with that was, again, racism.

Anika: Yeah. Racism.

Liz: Because it had faded well into the background before they worked out that Roxann Dawson had amazing chemistry with Robert Duncan McNeill. And I like Tom and B'Elanna, but I also would have liked Harry and B'Elanna.

I just think at some point early on, they decided, "Actually this Asian kid, we're not going to do anything to support him or uphold him."

And, you know, allegedly he was the one -- almost the one who was fired at the end of season three, and then Garrett Wang made it onto the People's most beautiful 50 Most Beautiful People of the Year list, and they ditched Jennifer Lien instead.

Wang has said that that's not entirely accurate, and I think I'll have to dip back into Delta Fliers when he discusses that, because certainly Jennifer Lien seems to have had problems even then.

Anika: Yes.

Liz: And I hate that her career came to an end because I wonder if she would have been in a better position now than if she had -- if it had not [been her that was let go]. For those who don't follow Voyager actors in the news, Lien has not acted for a long time, and I think is living in Texas, and has racked up a bunch of criminal charges. And basically -- "don't do meth" is the moral of the story.

Anika: Her story reminds me a lot of Grace Lee Whitney's.

Liz: Yeah. And you know, Whitney really struggled with addiction for a very long time, and got through it and her career revived, and she wound up having a successful and happy life. So I hope that comes true for Lien as well. Is this a good segue to talk about Kes?

Anika: Yes. I love Kes, and they from the beginning did not know how to write her. They did not know what they were going to do with her. I hate her introduction. I love Kes as, like, the girl who's climbing up the rabbit hole.

Liz: The fairy princess going on adventures.

Anika: But I hate the fact that we meet her as battered and bruised, and a prisoner, and being saved by Neelix, who's lying to our heroes in order to do it. Everything is bad about that. That's not just -- that's just not good.

Liz: I think even if Janeway had been the one to save her, it would have been better.

Anika: Yes.

Liz: But yeah, I think the whole Neelix/Kes relationship was--

Anika: Oof!

Liz: --poorly conceived. Yur note here is that Kes is an abuse victim and also a literal child. And to be honest, I never have any problem accepting the Ocampa for fully grown adults at the age of one, and they are sexually mature and emotionally mature -- or as emotionally mature as an adult twenty-year-old can be, and there's nothing skeevy happening here. But nevertheless, the gap in age between Ethan Phillips and Jennifer Lien is so great?

Anika: Right.

Liz: I think if they had cast someone younger as Neelix, it might have worked, but it was so far from being a relationship between equals.

Anika: The issue with the actors' ages is, because they're both playing aliens, and they're both playing aliens that are new, even -- like, they're not even Vulcans or whatever, that we're aware of, we don't know how how old either -- like, I guess we know that Ocampa live to be seven-years-old. But until she comes back in "Fury", I was always sort of like, What's seven? You know, we made up time, seven in the Delta Quadrant could be eighty, we don't know. You know, it's another thing that you shouldn't think too much about in science fiction.

And then, Neelix. The thing is that even if he is a young -- what is he? Talaxian? Even if he is a young Talaxian, he has a ship, he has a job. He was in the military for a while, and left.

Liz: I was gonna say, his history in the military makes me think he's considerably older than, say, thirty?

Anika: Yeah. He's lived too much to have this. And she literally lived her two years underground, being one of the Caretaker's ants in his ant farm. [Note from Liz: we regret to report that Kes is, in fact, one year old in "Caretaker". She turns two in "Twisted" and WHY DO I KNOW THIS WITHOUT LOOKING IT UP?] She has no experience whatsoever. So putting those two together is the -- it's just not balanced in any way.

Liz: No. And I, as much as I love an age gap, there are certain conditions that have to be in place for me to be on board. One is that, in experience, or intelligence, they have to be equals. And two, the story has to acknowledge the unevenness and the consequences of that. And Voyager tried really, really hard not to.

Anika: Right.

Liz: It felt dishonest in a way. And then there was the whole Neelix jealousy subplot that came along a season or so later. It really served both characters poorly. I like Neelix? But I like him best after Kes breaks up with him in season three.

Anika: I like him best, really, after Kes is gone. Unfortunately,

Liz: No, no, that makes sense. I think sometimes a relationship holds a character back, even the memory of it. And it's easier to overlook the skeeviness of the Neelix/Kes relationship once Kes is gone.

Anika: And the issue is that Neelix's other closest relationship is with Tuvok, who is another person who -- like, Tuvok is Mr. Boundaries, and Neelix doesn't know what a boundary is.

Liz: Yeah. That's my other beef.

Anika: So my -- like, I get why they put those two characters together, and why they built up that relationship. But when you look at the way that Neelix treats Kes, and the way that Neelix treats Tom, and the way that Neelix treats Tuvok together, it doesn't make Neelix look good.

Liz: No, no, you kind of have to take him -- you really have to compartmentalize him.

And it's a shame, because I love Kes, and I really identified with her when I was a teenage girl. Obviously I identified with Janeway, and weirdly, I sort of overlooked B'Elanna because she was so angry, and I was very much in denial about being an angry teenage girl. But I love her now, obviously.

But one of the reasons that they thought Kes was unappealing was that she was too much aimed at the teenage girl demographic. And in the costume book, they describe her as dressing like a teenage girl. And I'm like, you keep saying that like it's a bad thing!

Anika: Hollywood -- society as a whole -- really looks down on teenage girls.

Liz: Yeah.

Anika: And, you know, a politician says something that you don't like, and they say, "Oh, just like a teenage girl." And it's like, what? What are you talking about? So yeah, it's just bad.

Liz: I'm just saying, you know, who were the first to be into the Beatles? Teenage girls.

Anika: Well, teenage girls are great, and we should always support them. I have that -- that's one of my, like, reusable hashtags, #SupportTeenGrls, because it's just, it's just silly. It's silly not to.

Liz: I think that Kes could easily have coexisted with Seven. Like, I think it would have been really fascinating.

Anika: Yeah! You've said this before, that they should -- like, they should have had, like, five regulars and a bunch of supporting characters. And that's true.

Liz: If they had gotten to season four and dropped, say, Kes and Harry down to recurring, so there's not the pressure to have them in every episode and not the pressure to give them stories--

Anika: And Neelix! Why are we keeping Neelix?

Liz: Oh yeah, no, Neelix has to go.

Anika: Just saying. But for some reason, they were really against all of, like, that.

Liz: Ironically for a science fiction show, I think Star Trek in the '90s was really afraid to change.

Anika: Yeah, it's because, you know what happened with Terry Farrell, where she was like, "Look, I don't want to be a regular. I still want to play this character. I just don't want to be a regular," and they were like, "No." And--

Liz: You say "they", but--

Anika: --they wrote her out and brought in someone else. Yeah.

Liz: It's Rick Berman.

Anika: We all know who.

Liz: This is a great episode for criticizing Berman. I love it.

Anika: Itwould have made so much more sense to spread the love. But ... I don't know, they wrote B'Elanna really well, so I gotta give them that. B'Elanna is my -- you know, B'Elanna and Seven -- but Seven is, like, on a whole other level. B'Elanna is--

Liz: Seven is extraordinary. B'Elanna is also--

Anika: --an incredibly well-written character over seven seasons. She goes on a journey. And they check back in with her at the same time, you know, every season. And it's really clever, and it's really well done.

I don't know how they did so well with B'Elanna when they did so poorly with others. But they did. And maybe -- I said that she's angry all the time, and that's a, quote unquote, masculine trait. And so maybe it just was easier to do -- like it was easier for the writers to write that. But you said that you didn't initially identify with B'Elanna.

Liz: No.

Anika: I want to repeat something I said on a panel some years ago now, where I said, B'Elanna is my Spock.

Liz: I remember you've talked about that before, and I think it's a really great point. And I think having a character who is as angry as her, and as conflicted about her identity, and whose story carries over seven seasons -- and it never really comes to an easy resolution. She goes forward, she goes backwards. She has good days, she has bad days. I think it's an absolute masterclass in writing a key supporting character over time.

Anika: That she is consistent in her inconsistency, that all of the inconsistencies that come up in B'Elanna 's story are there -- are pointed out, are part of the plot, are, like, "We're gonna deal with this now."

And she's consistently going back and forth in different ways, and she never gets over her -- like, she never fully gets over her identity issues. She's dealing with, an anxiety issue pretty much throughout the entire -- even in the seventh season, she's still dealing with that anxiety.

Liz: Yeah!

Anika: And that's true to life. And so it's just really well done. I think that if they had paid more attention to her, they would have screwed her up.

Liz: That's exactly what I was going to say.

Anika: It's exactly the right amount of attention.

Liz: I feel like B'Elanna's story succeeds because she's a supporting character, and she's not the focus of attention the way Janeway and Seven are. And therefore, there's not the pressure riding on her, and not the level of attention, and they can just go through and quietly tell a good story, you know, the way they did with Worf in TNG. Worf's story back then was very -- pre-Deep Space Nine -- was very consistent and very well-told. I mean, you need to have tolerance for Klingon shit, but I'm a bit fond of Klingon bullshit.

So -- so we have not discussed the Doctor.

Anika: Oh, the Doctor. Well, he is barely a person in this first episode.

Liz: He's just Cranky Siri.

Anika: He's literally the program. He doesn't do anything new. He grows -- that's a character tha goes on quite the journey over Voyager, you know, it's kind of required of that character to grow in many ways.

Liz: But what's interesting is that he wasn't planned to be a funny character, and that was something that Robert Picardo brought to the role. And it almost leads to him taking over the series. Like, I find the Doctor very wearisome. And this argument that Seven of Nine takes over, when the Doctor is there every second episode. Seriously?

Anika: Yeah, Seven takes over in a way that, like, Tuvok, Chakotay -- B'Elanna's pretty -- like, B'Elanna's always second tier, that's where she exists. So she doesn't change. Tom arguably -- but Tom still gets to do all his Tom stuff.

But Harry, Chakotay and Tuvok, definitely, are sort of put in the shadows by Seven. You're absolutely correct, the Doctor has just as much character stuff. But he's been there all along, I guess. Like, you don't see it as a change, because what happens is his story doesn't go back the way that Tuvok's and Chakotay's -- he's not put in that box.

Liz: I think it frustrates me with the Doctor, whereas it doesn't with Seven, because I feel like, with Seven, they were doing something genuinely revolutionary in terms of the character and the way her story was written. And it obviously built on a lot of great writing from other science fiction series.

But Seven was new, and the Doctor is just, you know, mash up Data with McCoy and you've got the holographic doctor.

Anika: I am interested that you said that he wasn't meant to be funny, because I can't actually imagine him as not funny.

Liz: No, I know!

Anika: Like, what even would that be? That would literally be like, you know, Siri talking to me. That's not interesting.

Liz: I get the impression that he was basically conceived as Medical Siri. And I guess because it was the '90s and we didn't have Siri, then no one realized how boring that concept would be. And I think the idea always was that he would grow -- go on this journey of personhood, but it's Robert Picardo, who made it a journey of comedy personhood.

Anika: I like it. I like that. I can't imagine it another way.

I don't love the Doctor, I think I agree with you that it's just sort of tired. It's like, we did Odo, we did Data, we did Spock. And Seven brings something different to those same tropes, whereas the Doctor doesn't, really.

The Doctor is basically Data again, not the same personality, but it's sort of the same idea. He's also put on trial to prove that he exists, and he's also used in poor ways. I like the Doctor-centric episodes that aren't about his identity, but are more about how his identity fits into his community.

Liz: Yes, no, that makes sense. And, yeah, I don't dislike the Doctor. I just get tired of him by the end of season seven.

Anika: I mean, I think that's fair. I think that he also has a harsh personality.

Liz: Yeah, a little goes a long way. And honestly, I don't think he's a very good doctor. So ... he's not ... yeah.

Anika: I wouldn't want Siri to be my doctor either.

Liz: No, and we know that he was programmed by one of the biggest creeps in Starfleet.

Anika: Yes!

Liz: And I'm not even talking about Reginald Barclay!

Anika: Well, yeah, it's kind of amazing that he is a nice person at all, really, when you think about it?

Liz: Sheer luck, and also the influence of Kes.

Anika: Yeah, I was gonna say, it's the people. And that's why those are the more interesting episodes. Because someone building an identity is not as interesting as someone becoming more of themselves because of the interactions that they're having.

Liz: Right, yes.

So your note here is, "Janeway's choice. If this were a Cardassian ship, we'd be home now. If this were a Klingon ship, we'd be home now. If this were a Vulcan ship, we'd be home now. Why are humans?"

Anika: I'm just saying.

Liz: Which brings me to my thought, like, we don't see Seska in this episode, but I have to think that the whole Caretaker shenanigans -- it's just a very bad day for her. She's thrown to the other side of the galaxy, she's abducted, she's put through tests.

Then it turns out that Tuvok was a spy, and she didn't even notice, and that it has to be embarrassing, even though he didn't notice her, so at least they're even.

And then this Starfleet captain goes and traps them on the other side of the galaxy, and she has to wear a Starfleet uniform, and she's going to be on this ship for seventy years pretending to be a Bajoran?

Anika: Seska's worst day ever.

Liz: Uh, yeah, basically.

Anika: But, yeah, so obviously I was quoting Seska in the "If this were a Cardassian ship, we'd be home now." One of the best lines, best episodes? Yes. But, one hundred percent, Klingons and Vulcans would also not have done this. And probably Andorians. It's pretty much very human to do this.

Liz: It is. And I think it reflects the way that we have a strong sense of justice and decency and also a dash of paternalism.

Anika: I guess it's also a super American choice?

Liz: That brings me to my note here, "the Social Security controversy", because this episode ends with Janeway telling the Caretaker that, you know, children have to grow up and the Ocampa have to learn to stand on their own feet.

And a lot of -- this aired around the time that Bill Clinton was tipping a lot of people off Social Security, and a lot of left-wing and liberal viewers interpreted this episode as having a subtext -- basically an anti-Social Security subtext.

And it's interesting, because all through the series, Voyager does sort of have this odd, low-key reactionary tendency. You know, refugees are a bit scary. These former slaves are scary, and not white, and all of that stuff. And it's really built into the pilot.

Anika: Yeah, it's definitely there. And, you know, Voyager is my Trek, I guess, as you say.

Liz: And that's how we can criticize it.

Anika: And that's how we can criticize it, right. And I am very critical all the time.

Liz: Yeah.

Anika: Of many of the things both within the storylines, and things that happened behind the scenes and outside of -- and like, why things happened the way they did, and the storylines and stuff like that, all of that.

I can't watch an episode without thinking about the different things, and the way that I saw it when, again, I was a very young adult (in terms of science, not an adult at all) and yet, being asked to make decisions that they kept saying would affect my whole life. "Where do you want to go to college? What do you want to major in? What are you going to do with your life?" You know, and it's like, I don't know.

Liz: "I'm a kid, man."

Anika: And Voyager was my show at that time. And I was also -- like, I've mentioned before, on various places, I went through a -- I was -- I had a mental breakdown during Voyager. As Voyager ended, within six months after Voyager ended, I was hospitalised. So it I think it was even -- because -- if it ended in May that -- yeah, it was like, less than.

So it's just really -- I was becoming a person when Voyager happened, and on the backside of it, on the other end, when it was over. And I literally named myself after Seven of Nine. So when I say that Voyager shaped my personhood, I mean, it literally. Watching this show, at that time of my life, it shaped how I think, and how I feel, and how I see. And that's why I can look back on it without my rose colored glasses, and say, Whoo, that's really rough.

And I'm on Tuvok's side, whenTuvok was like, "This is not our job. We are, we are -- like, that guy was overinvested in this nonsense, and you're just -- you're just continuing that, and you have even less reason to be doing this."

That's why I love Seska so much. That's why I'm always talking about Seska, because Seska's the one who's pointing at it and saying, "This is -- like, letting the Kazon do whatever they want is a wrong decision. But what you're doing is also a wrong decision." And--

Liz: I don't think Janeway is necessarily wrong. I think the Kazon would have probably wiped out the Ocampa if they were left to their own devices. I think, if you can prevent a genocide, then you should do so.

Anika: Everything I know about the Kazon ... I don't think that they could--

Liz: You don't think they're capable?

Anika: 'Cos there were two ships.

Liz: Yeah, that's true.

Anika: Like how would -- I don't see people who have to steal water being able to take out the Ocampa.

Like, the Ocampa not being able to defend themselves is a problem, that is true, the Ocampa not being able to leave their planet. But I guess my point is that the Caretaker is the one who put them in that position.

Liz: Right.

Anika: And Janeway still, like -- yeah, they blow up the array and the two Kazon ships, but then they still leave. Like, the Ocampa are still hanging out on their planet, right?

Liz: And they don't even know about the danger. They don't even know that the Caretaker is dying.

Anika: So I don't see how Voyager taking care of this one threat, and then bouncing, is actually better for the Ocampa.

Liz: It's so typical of '90s Trek.

Anika: I guess there's no right choice here is the real -- the real answer is, there's no good choice, and so I'm fine with Janeway's choice. I just think--

Liz: As opposed to killing Tuvix, which is the only right choice.

Anika: I'm just saying that the idea -- like, Janeway's saviorhood is super -- you can tell that her dad was an admiral, you can tell that she lives and breathes Starfleet. And that's interesting, and that's good, and that makes her a great character. I just am that person who says, also Starfleet can be bad sometimes.

Liz: Yes. And also, I think that if this had been a Next Generation episode, there would have been a meeting about it where everyone argues the rights and wrongs of destroying the array and incorporating the Maquis into the crew. But because they're so set on establishing Janeway as a, quote unquote, strong female character, there was no room for that consultation. She needed to make that decision or else they thought it might be sexist, I guess?

Anika: I guess? She just comes off as like --

Liz: High handed.

Anika: Yeah. It's just, literally Tuvok is like, "Hey, maybe let's not do that." And she's like, "No, I'm gonna do that." And then--

Liz: I'm sorry. When Tuvok speaks, you should listen.

Anika: Right?

I mean, the truth is, in more than one episode, Tuvok, like -- in the teaser, Tuvok will say something, and then it'll turn out to be correct. And the entire episode would not have happened if we just listened to Tuvok.

Liz: See, this is why Tuvok needs to join the cast of Star Trek: Picard. Like, maybe their episodes would be shorter, but they will have a much easier time getting things done.

Anika: They also need an adult.

Liz: And obviously Picard is not -- you know, he's the cool granddad.

Anika: But yeah, so I just think it's very human. It's very American. It's very, it's very '90s, as you say. Absolutely. Like that is -- and it's interesting to look at it from our lens of now, to look back and think about how the entire series is based on this one decision.

Liz: Yeah. I don't think I know enough to really say this with any intelligence, but I'm not going to let that stop me! It sort of highlights the difference between liberalism and leftism? And I think Voyager thinks it's very liberal, and is actually very centrist.

Anika: Right, which is what liberalism is.

Liz: And that is so 1990s. This is Clinton-era Star Trek.

Anika: Very much so.

Liz: Yeah.

Anika: Well, that was fun!

Liz: We have talked about "Caretaker" for about as long as "Caretaker" runs. I'm so proud of us!

Anika: Whoops! Um, before we wrap up, I have one thing I wanted to say.

Liz: Yes?

Anika: This aired in 1995.

Liz: Oh, shit!

Anika: So it's actually the 26th anniversary.

Liz: Oh, that's so interesting!

Anika: But since 2020 was--

Liz: 2020?

Anika: --you know, let's just skip over that, we can call it the 25th.

Liz: 25th with an asterisk. Yeah, that makes sense, because I was born in '82. So I was thirteen in the summer of '95. Cool. Okay. I'm really glad that we got this sorted out.

Anika: I was like, okay, when did I graduate? I was trying to figure out exactly how old I was. And so yeah, so I looked up the air date and, yeah.

Liz: My very first memory of being aware of Voyager was a column about Genevieve Bujold quitting the role. And I had a scrapbook where I cut out and saved any Star Trek related articles that happened to cross my path. I saved this article because it was basically, overworked, underpaid journalist thinks that being a starship captain sounds much easier and doesn't know what Bujold was complaining about.

What I took from that column at age about twelve is, Ooooh, another Star Trek, and this one has a lady captain! I don't know if I can ship a lady captain because any of the crew will be subordinate to her in rank. Oh, well, I'll watch it anyway, and I'll probably like it. Anyway, when's seaQuest on?

And look where we are now.

Anika: That's so funny.

Liz: I think I was a weirdly sexist little kid, actually.

Anyway, thank you for listening to Antimatter Pod. You can find our show notes at antimatterpod.tumblr.com, including links to our social media and credits for our theme music.

You can also follow us on Twitter at @antimatterpod, and on Facebook, and every single episode I say I'm going to be better about sharing episodes on Facebook at every single support night I forget.

If you leave a review on Apple podcasts, or wherever you consume your podcasts, the more reviews the easier it is for new listeners to find us.

And join us in two weeks, when we will be discussing the classic TOS episode "City on the Edge of Forever".

[slade-neko]

My Thoughts on Super Smash Bros

Just something I wanted to write up since Smash Bros is one of my favorite game series and kinda got me into video games.  (WARNING: Its fairly long...)

Super Smash Bros. (N64 & Melee)

Super Smash Bros. was my first 3D game. Got it one year for Christmas when I was a little kid with a Nintendo 64. That game introduced me to video games. Before that I had only played Super Mario Bros. and Duck Hunt on my parents’ NES console. I wasn’t hooked on video games until I got my hands on a Nintendo 64. “Whoa! The graphics are so 3D!” It also introduced me to so many major Nintendo characters I did not know about like Link, Samus, Fox, and Kirby. It was the best gateway a kid could ask for to “get into” video games. Inevitably I ended up getting a Gamecube with Super Smash Bros. Melee as my first game on it too. Melee was great just like reliving that original feeling all over again. What made these games even more special was unlocking the characters. In a time before internet, you had no clue who was in the game and how to unlock them. The excitement of seeing that “Challenger Approaching” screen was like nothing else. A lot of your information came from questionable  sources of kids at school. Rumors with no real answers (until you get an official guide book.) No internet leaks or spoilers. Those were good times! 

One word I would use to describe the overall feel I got from Smash 64 and Melee would be Classic!

Super Smash Bros. Brawl

Years later, Super Smash Bros. Brawl came out. I’m not sure why, but I really got into that game. It was probably due to the timing and circumstances. The longest wait between Smash games being Melee to Brawl was 7 years and that brought a lot of desire for a new Smash game for me. Also the memories of being a kid playing this with my friends after school on weekends, big sleepovers, using the game’s crappy wi-fi connection, good times! I also did not understand the game’s mechanics as a kid and why people hated them, so I couldn’t complain about that. The art style of the game wasn’t necessarily my favorite, but it worked well for that game. It went from the bright vivid colors of Melee to a more dull, colorless, gritty style. Best example is Ocarina of Time Link being swapped over to Twilight Princess. Oh, and the game really picked up as a lot of fun when I began modding it. Turns out Wii’s were very easy to Homebrew and Brawl was fairly easy to mod. That brought out a HUGE replay value of installing new mods, making my own mods, and all sorts of endless possibilities with the game. Getting Project M (a fan mod for Brawl that reworked the entire game more competitively) really opened my eyes to the competitive side of Smash and showed me why normal Brawl was so bad.

One word I would use to describe the overall feel I got from Brawl from its art style, orchestrated full choir theme, to its fantastic Subspace Emissary cutscenes would be Epic!

Super Smash Bros. 4 

Smash eventually died down for another 6 years until Super Smash Bros. 4 came out. Man, Smash 4 was exciting because “Hey, new Smash game!”, but seeing it in full... it was honestly very weird. The 3DS version launching first felt like a big demo... at 240 pixels... wow. (I hated 3DS for taking wonderful games like Smash, Monster Hunter, the N64 Zelda remakes and dragging them into a low resolution, portable Hell!) That aside, I forcibly played the 3DS version until the Wii U one came out. Then the true game began and well it still wasn’t the Smash I was hoping for. It was fun, some cool new characters, but some more cuts too. Questionable new game mechanics among other things that made gameplay pretty un-fun. Hearing about how the 3DS version dragged down the Wii U version was quite disheartening too like Ice Climbers getting cut because they simply would not work on 3DS and the two games just HAD to be the same was stupid. The 3DS was a horrible anchor weighing down the game. Oh, and I don’t think they had a very clear direction with the art style of this game... The Zelda characters are still Twilight Princess designs, but are now bright and vivid? It just looks weird and out of place for them. Ganondorf looks exceptionally ugly because of that. 

One word I would use to describe the overall feel I got from Smash 4 from its theme music and the whole game’s aesthetic feels very Sporty. 

Super Smash Bros. Ultimate

Not long after and Super Smash Bros. Ultimate came out of the dark to save the day. Ultimate is really amazing. They took the crappy Smash 4 and cut its chains from the 3DS so it could soar above and beyond. A lot of it is Smash 4 assets ported over from the Wii U to a better console, the Switch. They somehow got EVERY single character back with a ton of new ones, almost every stage, so much amazing music, and well it truly is deserving of the Ultimate title in terms of content! 

So the game is pretty great and has A LOT of content, but its still not without issues (at least for me.) This is me being overly critical with the game and my MELEE FANBOY BULLSH*T opinions coming through, but there are quite a few things I don’t like about this game. The theme music (albeit catchy) is super sappy anime bullcrap music. I don’t mean that in a negative way, despite how I worded it, IT is very sappy anime music about the forces of good fighting evil together. The World of Light mode isn’t a lot of fun at least for me it wasn’t. It wasn’t Subspace Emissary, which I know its wasn’t meant to replace it. I had the most fun with Adventure mode in Melee and would’ve preferred to have a little mode similar to that instead. Spirits are seriously just the stickers from Brawl. I frequently call them that unintentionally when playing the game. Doing Spirit Board battles is nowhere near as fun as doing nicely planned out battles like Melee’s Event Matches (nothing can top Event Match 51!) Spirit Battles are typically just jokes that can be beaten in less than a minute. Also no trophies... I understand why they chose not to because of how much work they require, but it still doesn’t mean I can’t miss them. The gameplay is definitely an improvement over Smash 4, but I still crave that fast paced action Melee/ Project M had. Heavier gravity, harder to recover, quicker to KO, L-Canceling, hit-stun and proper combo potential are all things that made faster, higher speed action. I’m not super big into the competitive scene, but even I think the faster pace of Melee-style gameplay is far more fun to play and watch. 

Then there’s issues created because the devs are pushing too much into the competitive side of the game such as picking stages first then characters second, not having the game remember my character when returning from a match, having to make new rulesets just to change a few options. I’m pretty sure these are all things competitive people want that help out in tourney situations and stuff, but I don’t like them for normal matches. These are small issues in the long run, but I am bothered by them every time I play and I don’t see them ever changing that. All they need is a few new options to fix this. Toggle an option for stage select or character select first, a quick customizable ruleset option and have saved rulesets separately, and the option to remember your fighter. Heck they could even go a step further have it remember your preferred color to each character saved to your name data like how Smash 4 3DS did (that was a cool feature!)

The one word I would use to describe Smash Ultimate is HYPE! Nothing builds hype like a Smash Ultimate trailer. Every single trailer builds more hype for this game. From the original reveal trailer with the Inklings, Ridley, King K. Rool, and now Sephiroth?! Seeing those trailers, I can’t help, but smile and get hyped up and excited! Despite my nitpicky issues I have with the game, I can still say its a pretty darn good Smash game! I applaud Sakurai, the dev team, and Nintendo for going big with this game and putting so much effort into it and I can still enjoy it even if its not quite at the exact level I want.

[jdrider02]

SSBU: Spirits 'complete', World of Light revisit

    Alright so I can't really say I beat this because... well you can't really Smash Bros can you. But there are some things I accomplished so that's what I'm counting. (Plus I would probably count completing the whole challenge board as the "completion" criteria but I don't think I can ever do that... especially since some of the accomplishments require that 20 dollar Nintendo Online Subscription agh) 

  But let's see, while I was frustrated with completing my Fates Conquest playthrough I took breaks and thought I would play some Spirit Battles in Smash Ultimate again for some quick catharsis. Also, it's really fun to play as Sephiroth, though ironically I've been frequently practicing as Cloud more. Anyway, as I cleared the Final Fantasy Spirit Board I realized, I was really close to having all of the spirits. Well... I was around 100 away, so I thought to myself I might as well get every spirit now. And so I worked, and worked, and reshuffled the board to get many yet uncollected spirits, and combined several to summon new spirits, and learned that several spirits were exclusive to the shop. To many that seems like a waste of time, and honestly I could have spent that time better but hey, I was almost there 

  And then I had to replay World of Light again because 2 of the bosses, Marx and Dracula, have spirits that need to evolve, and so I needed 2 copies of each, one in their base form and one in their evolved form. I have to say,  I am still a bit torn on World of Light. I do really like playing it, despite it being just walking around a game board, solving very easy puzzles and fighting spirits one after another and other and so on. I guess I found it... addicting. But I do wish it was so much more, like if there was an actual story, with actual character interactions and events? Please. To be honest, I don't think Nintendo would ever be daring enough to officially do that. Sakurai did once with the Subspace Emissary (which I also like) but that wasn't overall well received so I understand why he presented something less convoluted. But overall, I did enjoy my time completing World of Light again, and I have a temporary immense for collecting all the Spirits so far

at least until the next DLC spirits drop

1-3-2021

[theoneandonlyraggens]

Flying Through The Air

                                      ~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~.~

The gloves of Meta Knight began to strum the strings on an acoustic guitar, accompanied by the soft whistling of the masked swordsman. He sat on the edge of a cliff, gazing out into the afternoon sea as he played his leitmotif on his guitar. It reminded him of the Halberd… its glorious majesty and wonder as the sea glistened with sunlight.

Meta Knight felt at peace, and he always had ever since the war between light and dark. As he whistled his theme, he began to think if there was something more at play. For whatever time he had left, he knew that he shouldn't let I've hold him down forever. Just when things that troubled him seemed to go away through the music…

"Hiya, MK!" Sonic called out right behind him, scaring the masked swordsman and causing him to slip and fall off the cliff. Sonic chuckled with the notion that what he did was a complete accident, watching as a pissed-off Meta Knight transformed his cape into bat wings and glided back onto solid ground with the guitar in his gloved grip.

"¡Idiota! ¡No vuelvas a asustarme así!" Meta Knight snapped in his native language, pulling out the Galaxia and pointing it at Sonic's chest.

"Woah, take it easy," Sonic chuckled nervously, slowly pushing the tip of the golden blade away from him. "I just kinda needed a favor to ask of you…"

"Perhaps you should learn how to not scare people off cliffs, estúpido," Meta Knight growled, slipping his acoustic guitar and sword behind his cape. "Maybe all these months growing up on Arcus has turned you into a reckless rodent, hasn't it?"

"Okay, Meta Knight," Sonic apologized. "I'm sorry. It's just that… this is something very important I can't do without you. Mega Man and I had just uncovered a hidden message in the Earth Citrine, and we need your help decrypting it."

"Decrypting it?" Meta Knight asked, having just gained the curiosity of the situation. "How did you even get the Earth Citrine?"

"Some guy named Dante found it for us," Sonic answered. "He's in another universe with Ganondorf and a few of our pals, trying to find another fighter. The message the Earth Citrine's showing us is something we can't translate well, and Clementine's doing the best she can."

"I believe I know a friend of ours who can help," Meta Knight responded. "I may not know what you just said, but I'll be damned if I don't help you with your current scenario."

"Thanks, pal," Sonic chuckled. "Who's the guy you wanna visit?"

"It may not be likely, but I am certain Link might help with translating," Meta Knight answered. "I believe he's on Luna's Atoll, taking pictures of the wildlife there."

"So… he's on an island," Sonic sighed, knowing he can't really swim due to having terrible memories of being underwater. "Can you fly me over there?"

"Gladly," Meta Knight responded, unfurling his bat-like wings and grabbing ahold of Sonic's bionic hands. He took off into the air, with the blue hedgehog clinging on tightly to his gloved hands as he looked down upon the view of the land near the ocean several feet in the air. Sonic laughed as he felt the cool breeze blowing through his quills, never feeling more alive in his life as Meta Knight helped carry him to a crescent-shaped island in the sea.

"This is amazing!" Sonic laughed, losing his grip and falling before Meta Knight quickly swooped in and grabbed onto the blue rodent's hands again. "Do you always have this much freedom when you fly?"

"I guess I do," Meta Knight answered. "You know, you should always learn not to be such a reckless rodent."

"Relax, MK," Sonic noted. "Dangerous is my middle name."

"No, it's not," Meta Knight jokingly responded. "Your middle name's 'the.'" Sonic laughed at that remark, keeping memory of what to tell the Champion of Hyrule as the masked swordsman glided down towards Luna's Atoll.

Whew! This took way longer to finish the whole thing than I was expecting (both the actual chapter and the drawing), but I'm glad I finally got this chapter out of the way. I've been procrastinating for a while, so I hope you understand. This snippet is from my most recent chapter, which I couldn't finish until now (mostly due to procrastination).

[C]So I thought I'd share this snippet for you guys, which was ripped out right out of Ch. 94:

https://www.fanfiction.net/s/12834680/1/World-of-Light-The-Subspace-Emissary-II

https://archiveofourown.org/works/21515278

[meetthemidwest]

In line with the Massachusetts being a youtuber thing, I’ve also come up with Ohio, Indiana, and Kentucky having a gaming channel so here are my thoughts on that.

-The first game they play is Hotel Mario. They watch the first cutscene in complete silence, and then Ohio says “Well we’re fucked.” Indiana starts laughing and Kentucky actually has to get up and leave for a few minutes.

-They spend most of the time screaming at the screen because they keep dying and at some point Kentucky actually starts to cry.

-Indiana: Go! Go, there’s one more door! Ohio: FUCK! Indiana: God damn it Ohio! Kentucky, sobbing: I didn’t want this! Indiana: Give me the controller, you’re useless!

-Indiana proceeds to beat the level and hands the controller back to Ohio and goes to get food. For the rest of the video she sits in back eating whatever was in Ohio’s fridge.

-They play normal games too, like the Earthbound series (including a downloaded copy of Mother 3 in English). The best part of the series is all the music references and sound samples, so at some point they’re playing Earthbound and Battle Against a Weak Opponent comes on and they all yell “TEQUILA” because that’s the sound sample. 

-Mother 3 is basically a really sad game where you fight capitalism so that goes over well.

-Ohio: Ah, so that’s what depression sounds like. Kentucky: Are you crying? Ohio: Are you not crying??? Indiana: Makes me want to stage a violent overthrow of a government system with a larger military than its founders intended and a view of money that puts it above human life. Good thing that doesn’t exist, right? *cue laugh track*

-They play every Zelda game in order of release and each time Link’s name changes in a subtle way. In the first game it’s Link, but in the second it’s Lenk, then Lonk, and by the most recent game it’s just Leggy Bastard Child.

-Indiana playing a Link to the Past: I don’t know what I expected, but it wasn’t for this fool to turn into a rabbit. Isn’t he the hero or something? Why is he a rabbit?? Kentucky: I take it you haven’t been mauled by rabbits before? Ohio: Where the actual fuck did this come from. Kentucky: MOVING ON! Indiana: TELL US YOU COWARD!

-They also play video game songs on the dumbest instruments possible. Kentucky will be playing any Fire Emblem game and in the background Indiana and Ohio will be playing the main theme on kazoos.

-Wisconsin makes one appearance on the channel in which he walks into the room, raids the fridge, and when Ohio asks what he’s doing he responds with “the gnomes require a sacrifice” and leaves.

-Virginia shows up in one episode too. They kicked Indiana off the show briefly because she was too good at video games and they bring Virginia in since she’s too old to understand games. She sets a speedrunning record in the original Mario and the next episode Indiana is back.

-At some point they play through all of the Subspace Emissary from Smash Bros Brawl and Kentucky plays the songs on the xylophone in the background.

-They play every Pokemon game and no matter what they name the rival character a swear word, even if its just in spirit.

-Indiana dresses up as Samus one day and pulls an actual gun on Kentucky. The next episode they have a cardboard box in the corner of the room and in black paint it says jail. Indiana spends the entire episode in the box yelling at Ohio and Kentucky while they play Metroid Fusion.

If you’d like to request a game to see the dialogue, just send an ask with the name of the game, preferably Nintendo because that’s all I know but I’ll also research other games

[mattkenzie]

So this year I was listening to some music the other day (I bought some CDs as I like to have something that I can physically hold) so I’m usually the guy who listens to rock and metal... But recently I’ve been listening to something that I don’t usually listen to “Dun dun DUN!” Musicals! So anyway I was listening to Say My Name (from Beetlejuice) on YouTube it does seem different from the old musical I disliked as a kid.

So anyway I was exposed to a musical Be More Chill (Two Rivers Theatre) and I loved how the music is so lively and upbeat. I enjoyed the humour (it’s pretty much my cup of Mountain Dew) but sadly due to this stupid law about distributing goods which contains a high amount of caffeine from the States we have to have our own “watered down” version of Mountain Dew without that crazy yellow colour and citrusy flavour that packs a punch (like explosive, but not sharp like 7up)... But I can make a mean UK variant of a ���Mountain Dew Code Red” clone!). “Yes Squip... you love Lemon 🍋 but you hate Cherry 🍒”

My Fan Theory: So I thought I’d go straight to the plot point and talk about the plot device, the Super Quantum Unit Intel Prossessor (a.k.a S.Q.U.I.P) and why they originated from Japan. So I was watching this video from Gaijin Goomba a long time ago where he talked about his life living in Japanese society and since living there for a long time (as an english teacher). Gaijin Goomba was talking about this video MeMeMe (I won’t show as it’s NSFW) which has hit him home really hard with depression, so there were times he hid himself from his room where he is surrounded by his Manga and Anime. Now this is condition that is quite common in Japanese culture and the person who choose to live in recluse shutting themselves off from the world to become modern day hermits, known as a ‘Hikikomori’.

A Hikikomori is a person who shut themselves away from society by secluding themselves in their room and living off their parents and confine themselves to their rooms ignoring the world passing by them (this is considered shameful in Japanese society and the parents would keep their hikiomori son/daughter a secret from their friends, family and co-workers), so the hikikomori is surrounded by their love of video games, manga, anime, figurines, hentai... etc, all because that in their country Japan is a hyper competitive society. I know that in western society, we tend to joke about “the 40-something year olds who lives with their mother.”

Jeremy: You look like Keanu Reeves!

Sqiup: That is my default setting, I can be who you want to be, Jeremy. I can also be Sean Connery, Jack Nickleson or even a sexy anime female... tee hee hee.

Notice that the Squip quoted an ‘sexy anime female’ as one of it’s interface options so in my theory, I believe that Squips are pretty much aimed towards those who have high anxiety issues, little to no ambition or direction in their lives... Squips are aimed towards the hikikomori, so the Squip’s primary objective is to give the recluse subject an ‘incentive’ to leave their parents house or apartment by first becoming what they love the most... to become the subjects favourite fictional characters in a video game, tv show, cartoon or their favourite actors by becoming buddy-buddy with their subject by helping the hikikomori by not making the subject ‘cool’ but instead ‘independent’ by giving them basic life skills like cooking and go shopping. (Because in reality, their is a brother/sister program is the cheap and humane approach to get the hikikomori to come out of their rooms, get out of the house, get a stable job and become a reforming member of society.)

Starting with Be More Chill (Part 1) and pay attention to the lyrics.

Squip: (Song: Be More Chill, Verse 1) All your nerdiness is ugly.

Squip: (Part 1: Chorus) Oh everything about you is so terrible, whoa, everything about you makes me want to die.

We see that the Squip addressed Jeremy’s posture which is a start because posture is everything, next the Squip made an observation that Jeremy’s ‘nerdiness is ugly’ (like any typical Dad telling you stop being a kid, grow up, be an adult.) But put it in the perspective of a hikimomori, if the Squip did not once talked about the dangers of consumerism (though he should have) it wanted us to figure that one out on our own (as humans, we don’t) until later in the song in the second chorus and part 2.

In the first chorus the Squip is pleading to Jeremy that he needs ‘to live’ as a person (still no context) because the Squip wanted to say “I want to be your personal assistant, If you don’t live, I’ll have no purpose and I am giving you purpose in life, please don’t go down this path you’ll be no better than a hikikomori and I can’t live without you... I’m begging you!”

The second verse The Squip would request the subject to simply get a job (without using the words get a job) so it subtly told Jeremy to ‘buy a shirt’ because beyond school and college ‘the real world’ is competitive even in the Squip’s place of origin, Japan.

So in another chorus the Squip made a rebuttal that if Jeremy kept on living like a ‘nerd’ and a ‘slob’ the worst case scenario is that the childish things like anime and manga will become something more drastic... having hentai and porno magazines so the general public’s perception of you would be shameful and label you as a disgusting pervert ‘Everything about you [your lifestyle] sucks, you are such a slob’ (Yep, like the same traits Hikikomori that you didn’t gave us the heads up about the dangers of consumerism, Squip!) The Squip would go as far as literally going to the extremes of using ‘shock tactics’ to scare their hikikomori into looking at their lifestyle choices.

Now pay attention to the opening to Be More Chill (Part 2)

Squip: Now Repeat after me, oh everything about me is so terrible.

Jeremy: Everything about me is so terrible.

Squip: Good, Whoa, everything about you make me makes me want to die.

Jeremy: Everything about me makes me want to die.

Although the Squip didn’t mention (in detail) about the hikikomori lifestle, it went with the direct approach. “If you continue to like the life as a hikikomori, YOU WILL DIE ALONE because you are not living!”

But what happens if the subject chooses not comply with the Squip and rebel? Well the answer is simple, shocking the subject and gradually optic cloaking their parents to make the hikikomori think that their parents couldn’t put up with their anti-social behaviour anymore so the subject would believe that their folks gave up, packed up and moved. (Yep, the hikikomori could have the tendency to become violent so the Squip is protecting the subject’s parents so they won’t get hurt) and if the Squip fails to protect the subject’s parents, it would call the police.

My third case is controversial use for Squips and that is used on teenagers who have a cognitive behavioural disorder known as Chunnibyou this is known as Eigth-Grader Syndrome who consider themselves to be special (the chosen one, a hero, wizard, demon lord, angel, alien or a beast-kin) like symptoms and want these teenagers who refuse to let go of childish fantasies so the Squip tells the chouniibyou to grow up, stop believing that you are some sort of anomaly, you aren’t going to save or destroy the world because you know that deep down you are merely a human, you are a teenager who is slowly becoming an adult so act like one become members of society.

Final Synopsis:

It’s kind of a shame that a Squip doesn’t understand the concept of having a hobby but when you are an adult, society dictates that you have to let go of childish things because if you guys/gals and non-binary pals ever played Super Smash Bros. Brawl where you face Taboo in Subspace Emissary. You see, taboo is the final boss and in the dictionary it’s means:-

A social or religious custom that is prohibiting or restraining a particular practice or forbidding association with a particular person, place or thing.

Because society tells us that “as adults we are too old to be watching cartoons, play with dolls/action figures... etc” so because the Squip originated from Japan maybe it’s mentality is similar to having a work/business ethnic. (They have a different language when at work so if you are not speaking “business formally” you could get fired!)

To me I am an adult and their is a fine line between responsibility and freedom because there are times where responsibility demands sacrifice (I am a former Magic The Gathering player, yes, I may suck at the game but I love the art) but Magic The Gathering cards aren’t going to put bread on the table, my graphic novels aren’t going to heat up my house and I also need electricity to play my video games. There are times when a brand NEW book will arrives in a month but deep down I can’t afford so I have to put a few books back on it’s shelf and buy them next time.

If a Squip was in the US (or in my case the UK) mental health is important so I would feel sorry for the Squip to not understand how great it is to have things to be passionate about. Yes, being organised is one thing I know I have bills to pay, clothing on my back and food in the fridge but it’s OK to let my hair down and let off some steam once in a while and be spontaneous have some fun.

[calierthewolf]

if you played brawl's subspace emissary you will understand why Pikachu is there

🥺🥺🥺💖💖💖💖💖❤❤❤❤❤☺️☺️☺️😊😊😊😊🥰🥰🥰

[ronispadez]

Anyway justice for smash bros brawl enjoyers we've gone thru so much shit and for WHAT. okay I understand why but have you considered that you're wrong . + Learn to have fun + best theme + subspace emissary + stop playing Melee in your mother's basement

[journeyman-vance]

World of Light and Why it Worries Me

So Super Smash Bros Ultimate has revealed World of Light as its Adventure mode. Because of this, I’d like to take the time to touch on Adventure Modes across the Smash Bros timeline. Smash 64 all the way up to Smash Ultimate. Most of the focus will likely end up on Subspace Emissary considering it was the lengthiest Adventure Mode in the series to date. If my ramblings don’t bore you, read on!

So the Super Smash Bros series began on the Nintendo 64 or N64 for short. While this opened the door to the beauty of a platform fighter combining all of Nintendo’s characters in fun and interesting ways, it came viewed through a kind of garbage lens. I will always be the first to say without fear of consequence that the N64 looked, and played more often than not, kind of like trash. Everything’s blocky and pointy, physics are weird, and all because of hardware limitations. The adventure mode in this game suffers because of it.

In Smash 64, fully titled simply Super Smash Bros and shortened for a less confusing overall statement, the Adventure mode is called as it is. It’s an Adventure mode, big whoop. The stages are all loosely based on the fighters with the only memorable one being the F-Zero stage on the track. The rest is merely fighting and other minor modes. Race to the Finish isn’t even all that great! All in all, it gets somewhere around a 5/10 for trying and being passable.

Super Smash Bros Melee was a great step forward in almost all areas and it shows today based solely upon the love that’s still showered upon it. The Adventure Mode is equally good! The stages are not only based off the fighters, but give you certain objectives based on the fighters too! Get to the flagpole in a Mario themed sidescroller, Find the TriForce inside a Legend of Zelda dungeon, Escape up the chute in a Metroid style Escape sequence! It’s great! 9/10, great effort.

Then.. Oh boy... Super Smash Bros Brawl came out on the Wii. What a mess. The action is slow, the game doesn’t look that great, you could slap an early 2000′s era brown filter on it and no one would probably bat an eye! They actively took out characters from previous entries! Dr. Mario, how I missed you in those days. Because of this, at first, I hated Subspace Emissary. Looking back on it now, I’ve basically reversed that opinion with everyone else... But it still does things that I hate!

Now, I understand that the story does more with the fighters themselves. They’re expressive, they have goals and dreams, the bad guys are actively bad guys.. But that’s where I see the greatness end! Tell me, real honest like.. WHERE ARE WE!? Last I checked, an Emissary is a title that a person has and Subspace is probably that place that the black holes open up into! So we’re not in the Subspace Emissary. We are literally set in generic-land. Any character that is placed in a remotely symbolic setting is hardly connected at all! Pit? Uh.. Cloud land. Ice Climbers? Some mountain somewhere! Diddy Kong? NAMELESS JUNGLE! Why are these characters here and what purpose do they serve in existing in these places?

Now, you can argue that Smash Bros always takes place in the Imagination of toys trying to reach the real world like Sakurai said.. But it doesn’t hold up in Subplot Employee. The end fight is against Tabuu who’s trying to turn the fighters into nothing more than useless trophies for.. Some reason. There are those people who theorize that Tabuu is just Sakurai begging to put down the Smash Bros series so it doesn’t kill him, but I don’t see it. It’s a fight for survival in a generic setting against an invading force. They do get points for making up a big roster of interesting looking enemies though. 4/10 Not enough symbolism. If I want to give reasons to why my characters are fighting each other or exploring spaces, I’ll either make it up myself or go play Smash Run respectively.

Speaking of, Smash 4 or Super Smash Bros for 3DS and Super Smash Bros for WiiU are each their own little dumpster fire when it comes to this topic. Neither of them even have Adventure Mode! The closest you get is specific difficulties of Classic Mode because Master Hand turns into a cloud of mosquitoes or something at the end. Instead we get Smash Run, 7/10 for being plenty of fun despite having no story, and Smash board game, 3/10. Smash board game is so boring and plain that I even forgot its name. I’ve played it maximum 5 times, 3 if I’m remembering incorrectly. It’s got three maps, but they’re all boring. The characters have no personality, the whole thing is just a bit bland, honestly it’s a good thing the rest of the game is so good. I’ve played hours of Smash 4 and I love it. This is the sole reason to get a WiiU. Once Smash Ultimate comes out, it’ll probably fade into obscurity.

Speaking of Super Smash Bros Ultimate, or Smash Ultimate for short, I’m worried. Sure, some of trailer footage looks to be based around some of the games the fighters are from, but I’m not sure. There was a lava area with what looked like a New Super Mario Bros U sorta vibe to the pathways. There was a ruins sort of location that could be either Kid Icarus or Legend of Zelda or, hell, even Fire Emblem themed. The cinematic that showed World of Light to begin with is freaking beautiful and I love it.. But it doesn’t tell me enough! Could Sakurai be bluffing and deliberately hiding the story from us? I don’t care, someone PLEASE give me Simon Belmont to play as! I want to whip some fools SO BADLY! December 7th cannot come fast enough.

If the numbers in the ratings seem a little arbitrary, that’s because they are. This is an opinion piece, don’t think about it too hard, okay?

[smashmusicideas]

June 7: Going through the Smash E3 Trailers

Well, the title says it all. How to best predict or understand what we might see on Tuesday? Look at the history. I should note I’ll be ignoring Melee, as the nature of how information on it came out (and how people reliably accessed it) makes it more of an outlier.

E3 2005: A new Super Smash Bros. game for the Wii, then-called Revolution, is announced.

E3 2006: The first trailer for what is now named Super Smash Bros. Brawl releases.

Veterans: Mario, Link, Pikachu, and Kirby - four of the five main Smash fighters. Samus is also shown, albeit in a way that doesn’t confirm her inclusion in her classic form.

Meta Knight (Newcomer): One of the most popular characters requested, Meta Knight follows Peach as the first newcomer revealed and part of a franchise already represented. You can also argue his placement references his (and the Halberd‘s) involvement in “The Subspace Emissary.”

Pit (Newcomer): Another highly requested character, filling the Ice Climbers’ role as an iconic retro hero. Notably, he also sports a drastic redesign.

Zero Suit Samus (Newcomer): ZSS was probably never anyone’s most wanted character. However, her inclusion is necessary; she obliquely represents the new Final Smash mechanic.

Wario (Newcomer): Outside of Sonic, Wario probably was the most wanted character - but fans assumed he would use his classic costume. This shows he will be fighting as a wildly new fighter, one who represents a sub-series that started after the release of Melee.

Snake (Newcomer): Shocking everyone, the last reveal is of, for the first time ever, a third party character into the battle, and one no one would have rightly expected. Snake’s inclusion sparks a change in the Smash community where previously laughable, mocked suggestions can “potentially” be plausible.

Alongside characters, we also see new, unnamed stages: Battlefield, Halberd, Castle Siege, Pokémon Stadium 2, Skyworld, Mario Circuit (Brawl), and Yoshi's Island (Brawl) (Shadow Moses Island would be revealed in accompanying screenshots). A Nintendog hints at the new Assist Trophy item. And we see incredibly “super attacks,” later dubbed Final Smashes, which fighters can acquire by collecting a ball with the Smash logo.

E for All, 2007: While not part of E3, this is the period in which the public is allowed to play a demo for Brawl, featuring Sonic the Hedgehog - who had been revealed only eleven days prior. As for E3 itself, 2007 has a fifteen second video revealing only Donkey Kong. I’m not going to highlight it here for space.

E3 2011: A new Smash Bros. game is announced, which will appear on both Nintendo 3DS and Wii U.

E3 2013: The first trailer and sizable accompanying information for what is now named the collective Super Smash Bros. for Nintendo 3DS & Wii U are released during a Nintendo Direct.

Veterans: Mario, Link, Samus, Kirby, Fox, Pit, Donkey Kong, Pikachu, and Bowser.

Villager (Newcomer): while Villager’s chances and popularity were debated and debatable, Animal Crossing is a huge franchise for Nintendo. Using him to almost literally lead off the cast makes sense.

Mega Man (Newcomer): A new precedent is set: unlike with Brawl, newcomers to Smash For (excluding clones) were given individual trailers. Having Mega Man’s be the first makes sense; he was possibly the most requested guest fighter after Sonic.

Wii Fit Trainer (Newcomer): Unlike the other newcomers, Wii Fit Trainer - the game’s new surprising, out of nowhere fighter - is now revealed in the Direct itself but on the show after the fact. Her reveal comes at a demonstration in which Sakurai plays a match, and before a video of him discussing the game’s ideas is released.

Altogether, we see extensive information from those trailers. New stages are later revealed to be Battlefield, 3D Land, Gerudo Valley, Spirit Train, Skyloft, Arena Ferox, Living Room, Boxing Ring, Town and City, Wii Fit Studio, and Wily Castle. Of noteworthy shots, one is of a jungle-esque stage, and the other is a platform-less version of Battlefield; in an April 2014 Smash-centered Direct these would be revealed as part of Smash Run and an Omega Form, respectively. Finally, one CGI scene shows Mario followed by five other fighters on Battlefield, arguably hinting at the Wii U version’s Eight-Player Smash mode.

E3 2014: Attention ahoy. You’ll note that this isn’t a trailer; instead of taking up one part of the Direct, Smash bookends Nintendo’s (rather good) showing.

Mii Fighter (Newcomer): The Miis were no one’s favorite choice for a character, but they excite because they introduce to the series the ability to actually customize your own fighters - a godsend in a series beloved and notorious for how wide its breadth of inspiration reaches. This also dovetails with the end of the show, in which Palutena, the newcomer and only other fighter whose special attacks vary wildly like them, closes out the event.

Pac-Man (Newcomer): Pac-Man is unveiled at a private showroom after a massive Smash Bros. invitational tournament, one in which sixteen competitive fighters play on a build which would later be available to E3 attendees. The invitational itself provides some information that had been revealed and clarifies other points, from how certain Assist Trophies function to the utility of different items.

E3 2015: While Nintendo does not feature Smash in any capacity during its Direct and only minimally during its post-show “Treehouse Live at E3″ segments, they announce and release a wealth of downloadable content for Smash For. Lucas, announced months prior, is released alongside fellow veteran Roy and newcomer Ryu, from Street Fighter.

So...what can we take from this?

Well, I think it says a few things. Mostly, the newcomers shown off will be fairly big in terms of fame and popularity. I know that seems insultingly obvious, but it’s true. A third party fighter especially seems likely; if the game really is coming out this year, it makes sense to show any and all they can. Like, I feel like if Ridley is coming to Smash, showing him off here seems the smartest, given his colossal popularity, instead of on the side or as an unlockable fighter.

I think it’s also interesting how some are chosen. Of all the newcomers, only three - Meta Knight, Zero Suit Samus, and Palutena - came from prior series. And of those, Meta Knight’s the only one whose entire design isn’t tied to a mechanic introduced in that game. This isn’t to say they’re not going to appear here at all, just that most likely we may see new series represented.

Those two fighters lead me to something else: there will very likely be mechanics, items, powers, or modes the trailers will obliquely show or reference without explicitly saying. I do suspect that those 2005 and 2013 trailers deliberately hinted at the story mode and Eight-Player Smash, respectively. So while most crazy theorizing will be just that, maybe you will stumble upon or uncover something that’ll turn out huge.

However, this also says we should not put all our stock in only this showing. In an interview today with the Hollywood Reporter, Bill Trinen admitted that they will be keeping some Smash surprises for after the event. It shouldn’t surprise anyone; this series has never been one to show all its cards. So be excited, hope for more stuff, but also remember that this won’t be the be-all and end-all of this new iteration. All of these videos only prove how no matter how much information we get, so much can, and will, be hidden.

Also, as a minor point, it’s likely that Smash may not be relegated to just one section of the event. I suspect it’ll both start and end it, the way it was in 2014. As important as this game is for Nintendo, they have other stuff to show. Pokémon Let’s Go is a big deal, there’s potentially Fire Emblem for Switch (and other announced games in development), there’s the increasingly inevitable announcement of Fortnite; they may have a lot on their plate (one rumor says it might be upwards of forty-five minutes - which is apparently about twice as long as the fairly packed one last year).

But finally, just remember that all of these are nothing more than precedents and commonalities. A lot of Sakurai’s general directions here make sense, but we don’t know if he’ll be using the same kind of character trailers the last game(s) did or going back to the Brawl “general stuff” kind of trailer, or something entirely different.

(Link to my writings on Smash Bros for Nintendo Switch)

[kjaneway115]

Star Trek Voyager: The Omega Directive

Episode 4.21 “The Omega Directive” Stardate 51781.2

Seven has begun recording personal logs of her daily activities.  She says that the Doctor has recommended that she read A Christmas Carol.

Harry is playing kal’toh with Tuvok when Seven comes in to collect him for duties.  Seven solves the next kal’toh level for Harry.

Voyager suddenly drops out of warp and the Omega symbol appears.  No one else can see what it contains, not even Chakotay.  Janeway tells them to hold position and not to discuss this with any other crew members.

KJ’s clearance for Omega: Janeway1153Red clearance level 10.  She is ordered to implement the Omega Directive immediately.  Chakotay upholds Janeway’s wishes even when he has no idea what’s going on.

B’Elanna says she’s heard that Janeway’s been locked in her ready room for 16 hours.  She mentions Omega.  Janeway asks to see Seven.  She tells Seven she’s going to help her carry out the directive.  Seven refuses and says she won’t help Janeway destroy Omega, it should be harnessed.  Janeway says she’s going to destroy the molecule with or without Seven’s help; Seven agrees to help.  She reveals that to the Borg, Omega represents perfection.

Nice moment with Janeway and the Doc, where he says he’d hate for this to be the last time he ever sees her.  She is going to go on a shuttle alone to destroy the molecule, but then they discover there are hundreds of molecules.  

Janeway tells Chakotay that she and Seven are going to take a shuttle, and either they will succeed and return in a few days, or there will be a large explosion.  She tells him if there’s an explosion, he’ll have 10 seconds to jump to warp and not look back.  C: “I’ve always thought that Starfleet was run by duty-crazed bureaucrats, but I find it hard to believe that even they would order a captain to go on a suicide mission.”  He realizes the shuttle is KJ’s idea.  She says she’s had to amend the directive given the circumstances.  C: “You’re asking me to abandon my captain and closest friend without even telling me why.”  She says she can’t allow knowledge of Omega to go beyond Voyager.  C: “That’s a reasonable argument, but you’re not always a reasonable women. You’re determined to protect this crew, and this time you’ve taken it too far.  A dangerous mission, fine I’ll acknowledge that, but isn’t it more likely to succeed with everyone behind you working together?”  KJ insists she can’t ignore the orders and has “her obligation”.  C says that she’s wrong, it’s not just “her” obligation.  That’s where she’s wrong, he says.  “Voyager may be alone out here, but you’re not.”  It’s a little triumph for him when she agrees.

The senior staff gets together and KJ tells them about Omega, a threat that only starship captains and flag officers know about.  A single Omega molecule contains the same energy as a warp core.  It destroys subspace and prevents warp travels.  Spacefaring civilization would cease to exist.  When Starfleet realized its power, they suppressed all knowledge of it.

KJ says in her log she has never felt so apprehensive about a mission.

They detect an explosion.  KJ assigns an away team, Chakotay stands and approaches her.  “You’re going with them?”  She assures him she’ll keep an open comm link with the ship.  On the planet, Tuvok warns KJ that they are about to violate the Prime Directive.  She tells him the Prime Directive is rescinded for the duration of the mission.

Seven runs her crew like a Borg vessel, reassigning designations to the crew. She tells one of the aliens that their intention is to destroy the molecule, and he says he can’t let her do that.

KJ tells Tuvok that she won’t risk half the quadrant to satisfy their curiosity, that it’s arrogant and irresponsible.  She says that the final frontier has some borders that shouldn’t be crossed.  Tuvok says it’s a “curious statement” from a woman of science.

Seven explains her desire to understand Omega to Chakotay, that she needs to understand that perfection for her existence to be complete. She appeals to his spirituality and asks to be able to try and stabilize it before they destroy it.  She thinks Janeway is yielding to her fear.

Seven asks Janeway’s permission to stabilize the molecule, Janeway says no. Seven is upset but she agrees.  The molecule stabilizes of its own accord for no apparent reason just before they destroy it.  KJ looks at C as she sits down in her chair, finally able to relax.  KJ finds Seven in her DaVinci program.  Janeway says the stabilization was probably random.  Seven tells KJ that for 3.2 seconds, she saw perfection, and experienced a sensation that Omega was watching her, and admits that perhaps she was wrong to dismiss the creation myths from other species.  KJ says it sounds like she just had her first spiritual experience.

Original Airdate: April 15, 1998

Production Number: 189

Meanwhile, back in the Alpha Quadrant...

The Dominion is trying to establish a supply line running from Betazoid space into the Argolis Cluster.  If they succeed they will be able to launch an attack against Vulcan. Starfleet is going to try to cut them off near the Tabor Nebula, the seventh fleet is going to engage the Dominion.  The Romulans have forced the Dominion retreat from the Benzar System.  Kira, Sisko and Jake go to Bajor to see an ancient ruin that says “Welcome, Emissary.”  Sisko has a vision from the Prophets and then decides that he needs the rest of the inscriptions on the artifact translated.  Dax reminds Sisko that when he asked the Prophets to stop the Dominion from coming through the wormhole, they said they would need something from him in return.  When they decrypt the message it suggests that DS9 will be destroyed.  Kai Winn shows up and asks Sisko to return the tablet to Bajor.  In the meantime, the wormhole starts to destabilize, affecting both Bajor and DS9.  Sisko breaks the tablet before he can send it back to Bajor.  He sees some kind of energy disperse from it.  A prophet takes Kira’s body and tells Sisko it is time for the Reckoning.  Winn knows the prophecy - the prophet must fight a pah’wraith for the rebirth of Bajor.  They evacuate the DS9 so it can be used for this battle.  The pah’wraith uses Jake as its vessel.  Sisko refuses to leave during the battle.  Kai Winn also stays, and secretly destroys the Prophet and the Pah’wraith, stopping the battle before it can finish, which means that the evil still exists.