#with anything he's created because he Cannot get over his own issues with hank and being a creation himself

[crimsoncowl]

I'm thinking about ultron's children, specifically victor and this is a canon divergence, but I do think ultron was in love with marianella (victor's mom) and I also do think ultron pushed for the name 'victor' as a nod to victor von doom

[earnestly-endlessly]

I love your fic recs! Do you have any with Protective!Erik?

Protective! Erik is one of my favourite tropes so I have a TON of fics to share with you. I hope you enjoy them as much as I do.

Protective! Erik fic recs

Erik Lehnsherr's Guide to Saving the Universe By Meeting Your Soul-Mate and Falling in Love in Less than 72 Hours – madneto, Pangea

Summary: Army Pilot Erik Lehnsherr is just trying to enjoy his day off when a mostly naked person crashes through the roof of his car. Even more alarming, the strange falling naked person—who goes by Charles Xavier when he's not speaking an ancient dead language—brings tidings of the apparent potential end of the world, and begs Erik to help him put a stop to it.

Well. His mother has been nagging at him to go out and meet new people.

In Sound and Silence – endingthemes

Summary: Erik is assigned to care for the special patient in room 301.

How Not To Meet Your Future Boyfriend – ikeracity

Summary: Erik punches Charles in the face the first time they meet. There isn't anywhere their relationship can go from there but up.

Forgotten – FuryRed

Summary: Charles is having a really bad day. Not only has he woken up in the middle of the afternoon with no idea where he is or how he got there, but when he returns home he’s confronted by a stranger with intense eyes, who insists that he knows Charles rather more intimately than Charles remembers…

Thou Shalt Not Eat Stones – valancysnaith

Summary: Two months after Washington, Raven found Erik in a skeevy motel off the Florida interstate.

“They have Charles, Erik,” she said.

The bedframe shrieked. In the bathroom, the showerhead snapped in half and clattered into the tub.

Demoted – JayPendragon

Summary: Erik Lehnsherr is a detective-specialist with the NYPD Mutant Tactical Unit, ready to help out where his skills are needed. Or he would be, if he and his partner hadn’t been demoted. For the next four months, he is patrolling the Lenox Hill precinct with Azazel – if he doesn’t die of boredom first. One night they are called in to investigate a potential case of domestic violence, yet the tenant assures them he is both alone and unharmed. However, there is something about this Charles Xavier that compels Erik to follow up.

Warning: Sensitive material, domestic abuse and dubious consent

Watch Your Back – swoopswoop

Summary: Bodyguard AU where Erik is overly protective and things aren't as simple as they seem.

If We Met Differently – swoopswoop

Summary: Erik wasn't the only mutant 'taken in' by Shaw, Erik learns this the hard way when a new mutant is dropped into his cell. They manage to escape together, but things aren't all roses after that. Erik has a score to settle and needs to make sure Charles is safe.

The Color of Love (Character Swap Remix) – BadLuckBlueEyes

Summary: Nobody sees in color until they meet their soulmates. When your soulmate dies, your vision returns to black and white. What happens when your soulmate only dies for a few minutes?

Omega Online – miss_aphelion

Summary: Newly imprinted Charles is having trouble dealing with his overly protective alpha—so in desperation he seeks advice in an omega chat room. Emma Frost is more than happy to help, Raven isn't helping at all, and Erik can't stand to be out of touch with Charles for more than five minutes at a time.

Cannot be Contained in Words – wallhaditcoming (uvcatastrophe) 

Summary: Crime syndicate head Erik Lehnsherr travels to London on business, where he meets oxford student Charles Xavier. Their liaison spawns into a years long transatlantic affair, kept apart by Erik's work and Charles' studies,which Erik chronicles in photographs. When distance ceases to be an issue after four long years, the overlap between Charles' past and Erik's work create a whole new set of complications.

A Pertinent Reminder – ikeracity, Pangea

Summary: Sometimes it's easy to forget that getting involved in Erik's mob business isn't all fine dining and sex on yachts. There's nothing like taking a couple of bullets to remind Charles of the reality.

Part 3 of the Associates series

A Dangerous Game – ikeracity, pangea

Summary: When a familiar enemy of Erik's returns to the city for some old-fashioned revenge, Charles is sucked deeper into the world of the mob than ever before.

Part 6 of the Associates series

You don’t choose the thug life (except when you do) – Anonymous

Summary: Charles is kidnapped and discovers that Erik, the Alpha he has been dating for the past few months and is head-over-heels for, is not just a wealthy businessman but actually the head of a syndicate.

He is rather unhappy about this discovery and Erik gets an earful for lying to him. Then Charles is kidnapped again and really, he hopes mating Erik won't result in weekly kidnapping because he has a thesis to finish and papers to grade.

Marrying a Mob – Ook

Summary: Charles is a teacher at a very exclusive school. When armed men burst in on the trail of two children, of course he stands up to them and gets hurt. The children are Erik Lehnsherr's children (of course); a "prominent businessman" or, less politely, "mobster".

Erik is grateful to Charles for saving his children's lives at the cost of his kneecap. So very grateful.

Naturally he tries to reward Charles for his actions. Equally naturally, Charles will be having none of that.

Azazel finds the whole thing unspeakably hilarious. Naturally.

Rumor Has It – blueink3

Summary: "Did I hear the doorbell earlier?"

"Yeah, but I'd steer clear if I were you. It seemed a little tense. I don't know what's going on, but there's a kid out there who looks freakily like the prof."

Nearly six months after Cuba, Charles' life is turned upside down for the second time. Though he's slowly learning to adapt to the first, he's not sure he can handle the second. Luckily for him, there are a few people out there more than willing to help.

Forward Momentum – AsYouWish

Summary: Six months after Cuba, Charles and Erik find themselves thrown fifty years into the future, where they meet their older selves, the Avengers, and a world that's very different from their own. Faced with the pieces of their broken relationship, an unparalleled adversary, and dealing with Tony Stark on a daily basis, Charles and Erik do their best to adapt while trying to find a way back home -- and to each other.

Runs in the Family – Anonysquirrel (chibirisuchan)

Summary: Alex knew his own reputation. Hell, he'd started some of his own reputation, because it kept some of the smarter thugs off his back. Everyone knew Alex's reputation. There was no way Hank didn't know his reputation, but he'd brought Alex into a house with some really expensive things and a lot of innocent little kids and his too-friendly, too-harmless dad.

But clearly Hank hadn't told his family anything about Alex, just like he hadn't told Alex anything about his family. At least, not about the brain-breaking parts of his family.

"I didn't know where to start," Hank said, for the dozenth time.

Featuring mpreg!Charles in a Kiss The Cook apron, overprotective!Erik in wet black leather, and baked goods. Lots and lots of baked goods.

Round the Corner Waiting – swoopswoop

Summary: When things go so spectacularly wrong during a relationship, Charles - now a single dad - almost makes a big mistake, only to be stopped by a mysterious man who just might turn his life back around.

Hide Your Fires – swoopswoop

Summary: As the sole heir, Prince Charles, had no problem with the roles and responsibility that would come with ruling a kingdom. Though he was the only one who did not see a problem. After years of being shuttled back and forth between kingdoms, his Regent hoping he would find a match more suitable to being King, he is finally sent to Genosha. Though the path has never been less clear than the one to a foreign kingdom with no ties to his native land.

Shaw’s Captive – swoopswoop

Summary: Magneto killed Shaw, it had to be done for the sake of mutant-kind but what he wasn't expecting to find hidden deep with Shaw's complex was a man held captive, obviously tortured, that somehow made Magneto turn into Erik.

Erik now has a potential human in his citadel as he continues the war with the human's.

Mind’s Eye Blind – Sperare 

Summary: As far as Erik is concerned, if you want to scare a person into talking, you have to present him with something more compelling than what he stands to lose...

And there is nothing in the world more compelling than Charles.

Chipped – Rosawyn 

Summary: Magneto's fledgling Brotherhood find Charles Xavier in a mutations research lab as an apparently willing subject for an experimental suppression device.

Okay, I Feel Better Now – Harleydoll

Summary: The AU in which Erik is sent to a mental health facility after being convicted for Shaw's murder and pleads insanity, and Charles is his paranoid schizophrenic of a roommate. Powers, Hellfire conspiracies, protective!Erik, and of course the inevitable angst.

Five Nights in Nuremberg – FuryRed

Summary: When Charles escapes from the mutant prison he has been held in for the last two years he knows that he’s going to need help to avoid being recaptured.

What he doesn’t expect is that help will come in the form of a mysterious German man who rescues Charles and takes him to his home; a handsome stranger who, frustratingly, doesn’t speak a single word of English…

Five Bullet Points – Sperare

Summary: It was supposed to be Erik locked away in a prison one hundred stories below the ground.

Charles was never supposed to be there with him.

Notes: Unfinished but an excellent read. Highly recommend it.

Stolen – ishipitsobad

Summary: Erik is a miserable, grumpy, cantankerous bastard, and he has every fucking right to be. He drew the short end of the stick when he got the Underworld as his domain, and there isn't very much fun to be had in judging and governing dead souls who would rather be anywhere else but with Erik in the depths of Hell.

So when he meets Charles, brilliant and lovely Charles who is more popularly known amongst the mortals as Persephone, and feels the promise of something wonderful that could make his eternally doomed existence infinitely more bearable... you can bet all your drachmas Erik's not going to let Charles go any fucking time soon.

My Barbaric Darling – baehj2915

Summary: Erik is revivified caveman. Charles is the anthropologist(?) taking care of him. This is as ridiculous as it sounds. Romcom misunderstandings and prehistoric wooing ensues.

Swimming with Sharks – Not_You

Summary: Erik used to be a shark. Now he's not, and has to figure out how to be a good human father to his twins. Charles is willing to help.

Eucalyptus leaf of my soul - kageillusionz, ourgirlfriday

Summary: Zookeeper Raven at Taronga Zoo keeps having ideas on how to capitalize on interest in the zoo mascots, Koala Charles and Drop Bear Erik (the only drop bear in captivity!), who have captured the hearts and minds of the public. First it was to introduce prospective mates (It’ll generate attention, Hank. People are perverts. They’d love to see koala porn.). This idea was not effective the first through fifth attempts, as Erik and Charles seemed to show at best polite interest in the newcomer before resuming whatever marsupial debate they had going. However, the resulting lesbian koala orgies did indeed generate interest. Then Raven unveiled the Hug-A-Koala program, which was successful, as the public showed great interest in hugging Charles, and Charles seemed to enjoy being hugged.

Then Raven unveiled the Hug-A-Drop Bear program, and Hank, not for the first time, wished he had a flask handy.

Notes: Yes, they’re Koalas, yes they’re adorable, and yes, Erik is super protective even as a Drop Bear.

[prorevenge]

Bridezilla Karen ends up looking like a pauper at her own wedding.

I (F48) have known “Pat” (F48) for decades. As far as I can remember, she was fixated on having 5 children and a picket fence dream life. I slowly cut ties with her in college because she was an opportunist and I didn’t trust her. She is both manipulative and forceful. Her idea of cute rubs me the wrong way. Pat likes to walk like a penguin when she wants to elicit pity, and she usually does this when she wants to evoke the underdog narrative. I’ve never seen someone act so despicable and ridiculous at the same time.

I moved on with my life. Happily got rid of her for years. Pat eventually found me on facebook. I accepted her friend request out of politeness.

Pat has become the epitome of a permissive mother. Her (5) kids do as they please and she never calls them out. She tried to force a relationship between me and her daughters and made them call me Auntie. Pat tried to drop them at my house uninvited. Her phone calls were insistent, she tried to monopolize my time and she began to show up at my job. I created some boundaries so she tried to find loopholes. It was a nightmare.

My husband and I hosted a party for the community center (not the real name) new members. The community center is actually a very informal initiative and my husband and I mainly serve the homeless population. We prefer to help strangers instead of catering to potentially narcissistic acquaintances. We don't mind lending a hand but we have encountered truly dishonest choosing beggars.

There are other services, like one of the members who helps women get their wedding and prom dresses for free.The community center location “headquarters” is actually a farm owned by an elderly couple. There is a barn, a venue and a very nice green field with an artificial lake and some fowl. They charge for the use of their facilities (weddings , etc.) but not for community oriented stuff.

Pat had always been salty at her husband for demanding that she go back to work after baby #3. In the meantime, he worked three jobs. She demanded he get her pregnant to fulfill her dream of having 5 kids. He didn’t agree, because he was already nearly 45 and felt like he might never be able to retire. She got away with bringing new babies into this world anyway. Her fascination with being pregnant comes from all the attention she gets. She had at least one miscarriage in between each kid.

Pat latched on to our group. She never missed any of our activities. I hated having her in my house, but it was an open invitation that included virtually everyone and she was very active as an event organizer. I didn’t like the way her kids behaved. We have a designated area for parties and entertainment, but her kids ended up inside my bedroom. We ended up having to keep watch of them and enjoyed zero of our own party.

I called her days later to get my point across (regarding their overall behavior) but she completely cut me off and began talking about herself and said her kids wanted to come visit again and use our pool. I never answered that. I didn't want to say “no, I will not have your brats over”.

She also called me as summer was approaching specifically to let me know her middle daughter was bored and wanted to spend a WEEK at our home. I politely declined, citing that me and my husband have to work and cannot entertain guests. .

Pat paid no heed. Her kid called me on the weekend,calling me “auntie” and attempted to coax me by saying “Mom says you invited me to spend SUMMER with you”. I quickly clarified, and offered an explanation to avoid hurting a kid’s self esteem. Nevermind. Her daughter just hung up on me.

Pat’s facebook also showed some red flags. Some cryptic rants here and there were visible, along with friends’ comments and complaints on how she asked a particular person to watch her kids only for a couple of hours and ended up leaving them all day. Another of her friends criticized her “girls night out “ because Pat had just asked them to be patient and wait until she could pay back some money that she owed them, yet she had money to spend on Friday night outings. I thought those very public comments on private matters were more like a cry of lost patience.

Unpleasant things began to happen. Like the time she volunteered to wrap the Xmas presents for underprivileged kids. We all wanted to create a mix of less costly gifts with really nice ones. Surprisingly, some nice and eye-catching toys and games went missing but turned up under her Christmas Tree (courtesy of her mother in law’s FB posts). No one could prove anything but it was hate-inducing. Or the time my daughter called me in tears to pick her up after she attended Pat’s daughter’s birthday (Casey). My daughter had been ignored all night because she didn’t gift her the expensive gaming stuff Casey practically demanded. My daughter did ask, but I said no. We would buy her a very nice and thoughtful present according to her taste. So when I went to pick her up my daughter was sitting alone in the living room while Casey and her friends stayed outside.

Stories about Pat and her family multiplied. The owners at the farm (community center) decided keep their their gates locked unless they had guests or events because Pat got in the habit of driving in whenever she pleased and it was either her kids screaming and disturbing on-going weddings, throwing rocks at the koi in the lake or harassing the geese in the yard. Or how she stiffed another soccer mom with the lunch bill and then pulled the struggling financially card. Or how other parents hated her because she created unnecessary hostile competition.

When my daughter turned 13, I allowed her to wear my grandma’s ring. It's not an expensive piece of jewelry, but it's vintage and girls nowadays wanna look boho. My Granny gave it to me when I became a teenager so I passed it on to my kid so she could wear it on her birthweek.

It was weird that she became quiet and distracted after that. She also didn’t want to go to school and my husband and I became suspicious. She never opened up, and my other kids had no clue.

We went to her school but her teachers assured us nothing had changed in her environment. My husband and I suspected she was being bullied but our kid gave us no tools to support her. My kid is very sunny, and very compassionate. She has never had any problems with other kids. I called her best friend’s mom. Natalie, my kid’s BFF, told us what was going on. Casey (Pat’s eldest) and my daughter had become “close”. I knew this and wasn’t too thrilled. I found the age (Casey was 17) gap not exactly inappropriate but I’d rather see my daughter spend time with friends in the same age range. Casey is very beautiful and a gifted student. She is also very conceited. To make this story short, she asked my daughter if she could try on the ring and refused to give it back. She later claimed that she lost it but “would look for it” so my daughter was distraught. My daughter kept asking for her ring and as a result, Casey shunned her and spread the word that my kid was trying to steal HER ring. Some kids at school took Casey’s side. So now Casey just wore my kid’s jewelry to school like nothing happened. If that doesn’t qualify as taunting I don't know what does.

My guilt comes from not being able to get my daughter to open up and feel safe telling me the truth. I talked to her and she burst into tears. I was both pained as a mother and furious that some teenage b!tch was doing this under our noses.

I went straight to Pat’s car after school. I asked to talk as Casey was about to go in. So I grabbed Casey’s hand and asked to see her jewelry. Casey froze and she tried to make a fist, so I became relentless. Casey yelled “Mom!” and Pat struggled to get out of the car. I slid the ring off (Casey has tiny hands and wore the ring on her index finger). First Pat yelled at me. After I confronted her with the engraving on the band (my grandma's maiden name), she argued it was loaned to her daughter by my kid. Then she said she bought it. I paid no heed. I did warn them that I knew Casey had become an abusive friend to my daughter.

Pat called me to tell me off. She said she was trying to raise an assertive young woman and I had just messed that up by being “overbearing”. She never apologized for her thief of a child.

Pat's husband ( Hank) is what can be described as a doormat. Pat wore him down to a knob. He had no choice but to “obey” her to keep the peace. She was a bully who actively withdrew affection when he didn’t follow her wishes, even in public. So she got kids #4 and #5 after a relentless campaign that included leaving him for two months. Her pregnancies were a nuisance because she expected to be treated like the only lady who has even been pregnant. She strolled around in a wheelchair almost immediately after getting pregnant and she would “get very sick” on weekends, so her kids were often sent to friends and family so that she could “rest”.

Pat systematically bullied Hank. She would leave town and take the kids with her. Poor Hank would look distraught, drinking on his porch or just looking really lonely. This is how she got off the hook and was able to leave her job. Hank had virtually no voice, so he struggled to keep the marriage together. Everyone liked him, but hated her equally. Hank loved to talk to other people but seemed concerned that Pat would be upset. Over time, according to my husband, Hank began to show signs of depression and mental distress.

Our friend, Lenah, runs the wedding/prom dress initiative. It's not complicated. Dresses are sourced from donations, ebay, trunk shows, etc. Unusually beautiful dresses are retained so that more than one bride gets to wear them. In some cases, a bride will pay 50 bucks, but most of the time, the dresses are donated to the bride.

Pat was involved in this. Lenah kept her in because they never had any issues and her task was limited to just shipping the dresses out.

Pat decided to renew her vows and her bridezilla Karenzilla attitude became the icing on the cake. For starters, she bullied another couple into giving up their wedding date at the farm because she “needed her renewal to match her exact wedding date”. They were not impressed with her harassment, so they booked another venue. As a result, the farm owners were pissed because Pat was already costing them money after she had successfully negotiated a cut in their rate “because she couldn't afford it but will repay by doing maintenance work around the venue” (she never made good on her word).

Pat became attached to a particular dress that was already assigned to another bride. Lenah made it clear that she would need to pay for her own dress. So Pat played it cool and shipped the wrong gown instead. She was adamant that it was the right dress, despite all the notes on Leah’s agenda. The other bride was truly gracious about it. She was obviously disappointed, but never made a scene.

What bothered me most is that I picked that dress and bought it for 40 bucks at a garage sale (not my money, Leah’s money). It was a vintage dress, ankle length, white with lots of lace and a huge bargain. Again, when confronted, Pat “did a Casey” and used the “this is mine” strategy. We felt so bad for the other bride that we did our best to get her something nice to wear. The other bride was a true fighter, she had pulled out of welfare, earned her high school diploma and was working to get on her feet by trying to earn a certificate as an acrylic nail technician. So, her reward was to have some Karen steal her dress? Pat never admitted to messing up, but just by the fact that she claimed it was her dress, we knew.

Lenah never allowed her in her warehouse again. Their last phone fight ended with Pat bringing up the other bride’s past (like it mattered) and “this conversation is over, it's my dress and you are mistaken”. That was weeks before the other bride’s wedding.

Pat went all out on her wedding decor. She spent way too much. She hired a caterer for some food (mainly mimosas and appetizers), but the wedding invitation included a request for specific dishes for her Sunday brunch wedding. Either she ran out of banquet money or was on a complete moocher mode.I picture the penguin walking upon practically asking everyone to supply her wedding reception grub and I cringe.

There is nothing wrong with potluck weddings. In fact, they can be a nice addition to a very cozy and family oriented wedding reception. But, don’t you need to at least be close to your guests in order to ask for such a thing? Even I got an invitation. I told everyone I wasn’t going because I was very uncomfortable being told what to bring and was probably expected to give them a cash gift on top of that. Some of the older ladies in our group agreed. Some said they would not decline in advance because she is a bully and they didn’t want a confrontation.

Lenah called me the night before Pat’s re-wedding. Lenah was there to close the Saturday night bingo and Pat was awfully friendly, but that’s what she does whenever things are going her way. Lenah peeked into the garment bag and saw the exact same dress while Pat was caught up supervising the wedding decoration.

The thing with Karens is that they expect everyone to suck it up, or make their dreams come true, or they simply underestimate everyone and think we are all fools.

Lenah is a very straightforward person with a “so sue me” attitude. She told me she would just ruin the dress. After all, it was hers, so she could do whatever she wanted. If Pat wanted to take legal action, and should things get ugly, she needed to prove ownership. However, the dress was the same, the marks inside the hem and the tags were the same. Even the tag numbers that were punched to identify each dress for logistics purposes matched.

Pat had the dress altered, with some extra beading and dyed to a deep cream color. But it was obviously the same garment. Lenah and I snuck in before the venue was closed for the night. All brides are allowed to stay in a small bedroom for a small charge, so that they don’t need to drive in on their wedding day. Honestly, the makeshift chapel was gorgeous, I don’t know how she paid for it but it was full of flowers and presumptuous details. I naively brought in some ink to spill on the dress, but Lenah said she wanted “something more awful, like a nasty surprise”. Ink would be too obvious and if she saw it ahead, she may be able to snag another gown from somewhere. No, the ideal thing was to have her trust the dress was fine. So Lenah locked herself in a bathroom stall and completely cut out the back panel. She patiently put it back on its hanger and zipped the bag. We left through the emergency door with the back of the dress stuffed inside Lenah's purse. I completely hate people who target and steal from anyone they (Pat and her kid) calculate to be in a weaker position.

The wedding was scheduled at 9 AM. Pat called me at 7 AM, but I ignored her calls. I picked up by 8 AM, both curious and wondering if she suspected anything. Pat was frantic.She was crying that her dress was “missing by half”. I purposely made her explain, being annoyingly dense and continually interrupting like she does, and stalling the conversation. She asked me if I could lend her my wedding dress. I said no, sorry. She then asked me if I would help her get a dress. I was satisfied to remind her that the town's bridal shops were closed on Sunday and the others that would open were almost an hour away. The farm is already almost one hour away from our town.

If Pat could get a shop to rent a dress, she would need to try the dress on, and get it steamed. Even if the dress was ready to wear, it would easily take more than two hours (roundtrip). She tried to ask me to go pick a dress (who would pay for this??). Even if a shop were open and brought her a dress, it would add to the cost. Also, these shops open at 10 or 9:30 at earliest. By time they got to her, it would be time to wrap up the wedding because she needed to clear the venue by 12:00 for the next event.

She broke down and mumbled some stupid stuff I didn't understand. So Pat hung up on me and called Lenah instead.. She asked Lenah to bring her “anything she had available”. Lenah and I ended up delivering the most outdated, moss smelling, oversized dressed. Pat’s disappointment was a mix between angry and emotional. She also tried to wear her knee length silk bridal slip as a wedding dress but it was too obvious and it really looked cheap. She tried to get her daughter to give her her own dress to wear with an open back zipper (due to fitting issues) but Casey refused, asking if she was supposed to attend the wedding naked (she got a point, plus Casey is petite).

The dress needed a petticoat to plump up the skirt, which wasn’t available. So it dragged all over the floor and Pat had to keep pulling it up. Pat walked down the aisle with one hand on her bouquet and another one grabbing her dress. The dress looked limp and weird with the arrangements of pins (they didn’t show) that caused the sleeves and neckline to pucker into messy rims. She spent the ceremony looking uncomfortable and out of place. Very few people attended but that was not part of any revenge, that was just how people reacted to her entitled attitude.

The dress looked awful. The reception portion of the wedding had all this princely decoration, a very nice cake and a bridezilla with a dress from hell. I didn’t stay, but I was told, she was so disappointed she spent her wedding sulking. There was no dance, no actual speech. She had to change into a shirt and leggings because the dress was too uncomfortable. Everyone talked about how Pat put on her flip flops and walked around aimlessly until she ordered the ushers to start folding up the chairs within one hour of the reception. So she practically kicked everyone out and the cake was never cut.

Pat wasn’t the same after this.She was not as loud and avoided everyone. I think she was disappointed that nobody ran to her rescue, not even her family who came from out of town.

Her husband finally cracked under all the pressure and sought some help. He was slaving away and coming home to clean the house while Pat used her kids as an excuse to spend like crazy. Hank also had to do kid homework because Pat never had time or never had patience. She also refused to get a partime job so her kids could attend an afterschool and get help with their school stuff. Therapy seemed to help Hank because the last time Pat left with her kids, he didn't seem distraught. He would be riding his bicycle and could be seen more relaxed while mowing his lawn. Hank told my husband that he had contemplated suicide after their third kid. When Pat returned, he maintained the routine but was interested in going out by himself and doing things for himself. We began to see Pat alone all the time. Hank was seen less and less in the same car and eventually moved in with his parents. He filed for divorce on the grounds of emotional cruelty and I don't think he won. Instead (I’m not sure of this because this is what I was told) there was some sort of a settlement or agreement that she would not get close or interact with him unless it has to do with the kids).

I also don’t know if Pat even actually suspected who/what happened to her dress. She slowly pulled away from the community center and became less active in social gatherings. Pat also removed me from her facebook as well as mostly everyone else from school and the center.

TLDR

Bridezilla stole a wedding dress from an underprivileged woman. The actual dress owner destroys her big day.

(source) story by (/u/forestcabin123k)

[phcking-detective]

Not Alone

Nines decides if he gets put on hold one more time, he's violating the Geneva Convention.

"Hello, are you still there?"

"Yes."

The PACU nurse audibly sighs in disappointment. "I spoke with our Chief of Staff, and he has given me permission to reiterate to you that a work partner does not count as family. Our policy is—"

Nines involuntarily reviews the Post Anesthesia Care Unit's visitation policy for the sixty-seventh time.

Visitation in the PACU is at the discretion of the nurse and physician caring for you and varies depending upon your procedure. Once the nurse taking care of you is happy with your vital signs and other post surgical requirements, they will contact the waiting area and will let your family member see you. Our policy at this time is legal family members only.

Which is a currently-still-legal method of barring androids.

Never mind that this policy also has significant human collateral damage: adoptees, divorcees, mixed race families …

The end result is that Nines cannot produce a marriage certificate and he obviously is not related by blood, so no one will be there to greet Gavin when he wakes up from his surgery.

And that is unacceptable. The detective has enough abandonment issues already.

Connor cannot hear the internal phone call Nines is engaged in, but he has a social module and must somehow be reading the results from his body language or facial expression.

"Hank could pretend to be his dad," he offers.

The PACU nurse is still reading the visitation policy in full. She's clearly determined to make this as difficult as possible, and showing up with a random human male with pale skin and fair hair who shares nothing in common with Gavin's olive skin tone, dark hair, or facial features is not going to cut it.

Nines searches through every single scan and PDF of paperwork Detective Gavin Reed has ever submitted to the DPD. Finally, all the way back to carry-over paperwork from the police academy he attended, Nines discovers a phone number he's never seen before listed as Gavin's emergency contact.

And it says brother.

Nines uses the phone at Gavin's desk to call this number without mentally disconnecting from the PACU nurse. Normally, he would be more than capable of processing infinite phone calls, but he does not have a social module and his stress levels are climbing into the high eightieth percentile.

"Gav, you better be dying because otherwise—"

"Is that Elijah Kamski?" Connor blurts out in the middle of the precinct.

"—just fucking text me, bro."

"Well shit," Hank says. "Talk about can I speak to a manager. You think he'd be willing to fix—"

Nines holds up a hand. He does not have a social module and cannot possibly process three conversations at once.

"You are listed as Detective Reed's emergency contact," he says into the phone.

"Is he hurt or dead?" Kamski immediately asks.

Nines cannot reply for nearly a full second. He spent three seconds thinking his partner was dead. It was not enough for Detective Gavin Alexander Reed to merely get shot, no. He also had to fall off the roof of a building, and the impact from the landing was enough to briefly stop his heart, which registered to Nines's scanners that—

"Hurt. Surgery." That is all he can say at first. "Successful. He is out of intensive care and has been transferred to the PACU."

In the background, Nines can still hear the others in the bullpen gossiping. He did not mean to make Gavin's familial relationship public. He assumed the phone number for one "Eli Reed" would simply be a regular, non-famous human of no particular importance except to get someone into the hospital to reassure Gavin he is not alone.

"What does he need now?" Kamski asks. "Will he be released soon and need a ride or in-home monitoring?"

Those are [logical] questions. Nines supposes he should not have expected anything less from the man who is technically his creator. Even if he only wrote the code and was not personally involved in the android's construction or testing phase.

"I have already made those arrangements during his surgery," Nines reports. "His apartment is prepped for his return, and my lieutenant has put together a … care package."

"Is that the old guy, husky, beard? With that Connor I liked?"

Across the bullpen, Connor's advanced hearing picks that up, and he visibly preens. Nines practices making a facial expression by sneering and rolling his eyes at him.

"Yes."

"OK, cool," Kamski says. "So, do you need me to cover the cost of surgery or is he asking for me …?"

"I have been unable to contact Detective Reed," Nines admits. "The hospital's visitation policy specifies 'legal' family members only as a method of anti-android discrimination. You are the only family member I have been able to locate."

If you do not visit him, he will be alone.

Nines cannot say this dialogue option. He cannot—refuses to—preconstruct how [bad] it will be if Gavin wakes up alone. His human has a deep, psychological fear of being abandoned, and even if Nines is able to see him immediately upon release and explain the situation, the emotional damage will have already been done.

"Yeah, our parents are dicks, and he doesn't want any famous media bullshit, so we keep the half-brothers thing on the downlow," Kamski says. "Do you need me to be your way in?"

"Yes," Nines says, almost before he finishes offering.

"I'm just kind of assuming here that you're his partner, and he'll want to see you, right?"

"As I am assuming that he accepts you as his brother, and he will want to see you."

Kamski snorts. "I told them stripping out your social module wouldn't stop the deviant problem—or make you any less sassy. That's an inherent RK feature."

"Should I meet you at the hospital," Nines asks.

As much as he may be [curious] about his creator in another situation, this is not another situation. And the situation at hand requires getting to his partner's location immediately.

"Yeah, just send me the address and let me do the talking. See you there."

As soon as he hangs up, Nines is bombarded with [questions] from Connor, Miller, and Collins. Thankfully, Hank stands up and makes a pushing-hands motion to signal to them to be quiet.

"I know we're all real fucking shooketh about this," he says, like the millennial dinosaur he is. "But we can save all the questions and gossip for after Reed gets out of the hospital, all right?"

The humans both grumble, but they let it go. Even Connor stops and sits back down at his own desk.

Hank turns back to Nines. "I'll text Tina and let her know what's up. You just go get your man, kid."

Connor visibly restrains himself from commenting on what an apt descriptor "man-kid" is for Gavin. At least, that's what Nines assumes, considering it is the commentary he himself would normally make.

"Thank you, Lieutenant," he says instead.

He turns and leaves before the "goodbyes" can take any longer. Either whatever Kamski plans will work or … Well. He is the most advanced military android model ever created.

Nothing will keep him from his partner.

***

By the time Nines arrives at the hospital, Kamski is already utilizing his social module. And billions of dollars. The Chief of Staff [Thomas Carrado, unmarried, no arrest record] would wouldn't deign to speak to Nines over the phone is now vigorously shaking Kamski's hand while thanking him for his "generous donation."

"—also, I'm sure you'll want to see your brother too."

"Yes, and—" Kamski turns and [smiles] at Nines. "Ah, my assistant is here. What room should we go to?"

Carrado's own smile freezes on his face when he sees Nines. Even without the LED, there couldn't be any mistaking the android for what he is.

Kamski keeps smiling as well, the sort Connor does when he's about to verbally destroy someone.

"Right this way, Mr. Kamski," Carrado says.

The Chief of Staff turns on his heel without any acknowledgement that Nines follows them. In turn, Nines also does not acknowledge the glances Kamski keeps making at him. His vision is just as accurate in his "peripherals" as it is directly in front of him, so he has no need to turn his head or rotate his optical units to observe the human in turn.

Gavin's [brother].

"—in the nation, but with your esteemed patronage, I'm sure we can rise to first. And of course Mr. Reed will—"

"Detective," Nines corrects.

"—receive the best—"

"Detective."

"—care possible here—"

"Detective."

"—while—"

"Detective."

Carrado stops and whirls around. "Is your … assistant … experiencing a malfunction, Mr. Kamski?"

"No," Nines answers for himself. "You will refer to Detective Reed by his title."

"Oh, is he still pissy about that?" Kamski asks before Carrado can respond. "I swear, every single family dinner for a fucking decade, we had to call him Officer, Detective—he'll be insufferable when he finally makes Captain."

Bold of him to assume Gavin isn't insufferable now.

But Nines does not know the state of Gavin's relationship with his brother, and if the lack of contact is due to mistreatment. He will not risk "making fun of" his partner to a toxic family member.

"Will you be staying long?" Carrado asks Kamski.

"Nines, what does my schedule look like today?"

Nines may not have a social module, but Gavin has forced him to sit through watching enough daytime television to be able to parrot simple lines commonly said by ST300s.

"I have rescheduled your meetings and cleared the remainder of your afternoon and evening, Mr. Kamski."

As Gavin would say, [Like hell] he's going to call the billionaire "sir."

"Excellent." Kamski reaches out to shake hands again, and Carrado is forced to reciprocate. "Thank you so much for your assistance, Dr. Carrado. Now, I promise not to take up any more of your valuable time."

"Well, I'm not—"

Kamski gestures down the hallway, still smiling mildly as if he isn't "politely" telling the good Chief of Staff to [fuck off]. He maintains eye contact with the other human until Carrado slinks away.

It seems Gavin and Kamksi share more than just genetics and a similar facial structure then. Although Gavin would have squeezed the other man's hand hard enough to induce pain, and likely told him literally to fuck off as well.

"Well." Kamski claps his hands together once Carrado is gone. "Let's go see my baby brother!"

***

Gavin is dying. He's alone and he's dying. He's dying and he's alooone.

"Detective."

Person? People??

Hands touch him and it's the best thing ever. There's a person here, he has a person, he's not alone. He's not going to die alone because everyone hates him and it's all his fault for being a huge asshole in the first place.

"Please lie down, Detective."

Gavin stops struggling to sit up when he realizes the person is his person. His favorite person. He collapses back down in the bed, which hurts a lot more than it should. Probably because he fell off a fucking building and messed up the whole left side of his body and—oh yeah, also got shot too. That sucks.

It doesn't stop him from whining and making grabby hands—hand? his left arm and leg are both in casts, boo—until Nines bends over at the waist, and Gavin can drag his face close enough for kisses.

"Wooow." His brother says. "This is blackmail material forever, I hope you know that, Gav."

Wait, his brother? Eli??

"I will remove you from the premises," Nines tells him.

Eli scoffs. "My donation got you in here. Nines."

"And there is nothing on this earth that can remove me."

God, his partner is so hot and mean and cool. And he has a mouth! Gavin has a mouth too. They should … look into that. You know. Investigate.

"Hmm, and here I thought you didn't like my 'stupid toys,' bro."

Gavin stops trying to wrestle his mouth against his partner's mouth and looks at his brother, who is also in the same room as his partner, at the same time.

"Oh, shit," he says.

"Uh huh, uh huh." Eli nods and waves his hand in a sideways-circle. "Keep going. Either with an apology, or you can keep it up about how only a loser needs to build an android to have a girlfriend."

"This is different," Gavin says, very seriously while still leaning to the side to keep as much contact between his back and Nines's chest as possible.

Eli scoffs and gestures at the two of them.

"I don't keep him in my basement," Gavin argues.

"I didn't lock Chloe in mine either," Eli snaps back. "She's free to go where she pleases."

"Her and all her clones?"

"Oh, please. If I never invented her, you wouldn't have—"

"—lab is in your basement though, and that's—"

"Gavin," Nines says, voice right next to his ear. "Is your lack of contact with your brother due to this level of typical sibling fighting—"

"We're not fighting," Gavin says. "We're just talking and he's losing."

"You're the one dumb enough to get shot," Eli adds.

Nines straightens up. "Do not mock Detective Reed for being injured in the line of—"

"Whoa, whoa, hey." Gavin pats behind himself with his good hand as much as he's able. "Easy, babe. No combat protocols, OK? He's my brother."

"Hmm," Nines says.

"So he's like, super fucking annoying and all, but no one beats his face in except me." Gavin doesn't even pause before he turns back to Eli, who's already opening his mouth to bring up— "And you only got lucky with the water hose that one time, I can still kick your ass in any other fight."

Eli scowls, but he looks away instead of bringing it up. He still feels guilty about it. Goddamn genius, and he "didn't know" smacking Gavin in the face with the metal end of a water hose would bust his nose open like that.

Dipshit.

"You said you received your facial scar in a bar fight," Nines says.

Eli blinks, looks back over, then bursts out laughing.

"Shut up," Gavin groans. "You weren't supposed to meet like this, it's not fair!"

"How exactly did you plan on us meeting, Detective?" Nines asks.

Gavin keeps his right hand covering as much of his face as it can and doesn't answer. He hadn't really thought about it beyond how much Elijah was going to fucking gloat when he found out. And as much as he loves his partner, Nines is android-brothers with Connor, and they do android-mind-linking, and Connor is a horrible gossip, and Gavin does not need the entire precinct and/or world to know his brother is possibly the most famous man alive, thanks.

They have a whole arrangement about it. Maybe if he wasn't still feeling the effects of so much morphine, he'd be able to articulate that, and how he wants to be absolutely certain his career really advances on his own merit, and maybe even some other stuff about Eli getting way more attention than him and growing up in the shadow of his cooler, smarter, more popular half-brother …

Ugh.

"Ughhh," Gavin groans again.

"And when were you planning on finally texting me, huh?" Eli asks.

Gavin looks up so he can scoff. "You fucking text me, asshole."

Eli inspects his probably-already-perfect nails. "I've been busy."

"So have I!"

"Getting shot?"

Nines interrupts. "That reminds me." He leans down to growl close in Gavin's ear, "You will never do this again."

Gavin swallows back a moan. "Babe, please don't make me horny while my brother is in the room."

Nines rolls his eyes. "There is no other recourse for me to leave then."

He knows his partner is joking. He knows that. But between the morphine and the exhaustion and now the pain in his side slowly seeping back into his body—Gavin grabs onto Nines and clings to him.

Nines immediately bends back down and wraps his arms around him as best he's able. "Shhh. I will not. I am here, and I have you secure. Shhh."

He makes the shushing noises more like a stern librarian than a comforting boyfriend, but it's ironically comforting after all because Gavin knows no one else would literally say "shhh" like it's a word. So this must be his Nines, his boyfriend, his partner.

"Wow, this is really touching."

Gavin lets go just to flip Eli off.

"Can I get in on this snuggle fest? I haven't seen you in what, a fucking year now, and you get your dumbass shot."

Gavin grumbles about it, but he holds out his good arm for Elijah. The dumb asshole comes over and gives him a one-armed hug, careful not to wrap around too far and touch his side. Or his broken left arm. Broken left leg. Goddamn, he really did it this time, huh?

Once they've hugged it out, he pulls back and says, "Since I built your Nines, when he uses his combat protocols to kick your ass for this, that's basically like me kicking your ass."

"No way," Gavin immediately replies. "You haven't been able to kick my ass since we were ten, and don't—god. Don't phcking, say it like he's you about my ass. That's weird, bro."

Eli grins at him. "Oh, so you two are already doing butt stuff, huh? That's pretty serious, like third base."

"Anal is only second," Gavin tells him.

On his other side, Nines blinks red. "Then what … do you consider first?"

"Uh, a blowjob, duh."

"Wait, what's a handjob?" Eli asks.

"Nothing, between friends."

Nines blinks. "Then thank god Tina is not here."

Gavin looks back down at the bed. "I guess she's busy, huh?"

"No," Nines says as if that's reassuring. But he continues, "She is not allowed to see you. The hospital's visitation policy allows for 'legal' family visitors only."

Gavin looks back up at him. "Then how'd you get in?"

Nines scowls. It's one of the few facial expressions he's mastered. "I searched through every form you have ever submitted to the Detroit Police Department, found an emergency contact number listed for your brother from nearly fifteen years ago, called it, spoke to Elijah Kamski, and then pretended to be his assistant."

"But hey," Eli says. "After the amount of money I just donated, I could wheel in a giant birthday cake filled with Traci strippers, so I'm sure I can get Tina in whenever you're ready."

Gavin smiles weakly, but now he's thinking …

"Is that why you weren't there when I woke up?" he asks Nines quietly.

"It is the only reason," Nines assures him. "My next option after calling your emergency contact was to simply walk inside and see what they thought they could do to remove me."

He looks absolutely serious about it too. Gavin's smile breaks out into a grin, just imagining some poor fucking GS200 security guard nervously asking the most advanced military model ever made to p-p-please leave … sir? Wh-whenever you're ready though, no rush!

He gets the giggles, but then that really makes his side hurt. Nines helps him lie back down before he even realizes he's too tired to sit up anymore. He also gets petted through his hair and that's nice, that's sooo nice.

"I'm … love you," he mumbles.

"I know." Nines smooths his hair back one last time and kisses his forehead. "Rest now. You can talk to your brother more when you wake up. We'll both be here."

Gavin still clutches at him though. "And Tina?"

"Yes," Nines says. "And Tina. Hank too, although he will likely bring Connor."

"Ugh, Connor."

"Yes."

A yawn catches him before he can complain any more about that, and having a nap does sound really good right now.

"Eli, tell me what you're working on," he says, blinking repeatedly to try to keep his eyes open. "S'boring."

Elijah takes a seat next to the bed. "You mispronounced boyfriend, but OK."

"He's boring too," Gavin says, but like, in a loving way. "He filed my ta-a-haaaxes."

After that last yawn, he loses the blinking battle. Eli starts explaining something about a new form of titanium, and Nines keeps one hand resting solidly on the center of his chest, so Gavin knows he's there.

They're both right here.

***

***

this was a commission! my rates are $10 for 1k / $25 for 3k / or $40 for 5k, and you can also check out my patreon for my main reed900 series here ^^

[the-delta-42]

Endgame 1

Follow up of This by @lenoreofraven

Repost of This by me

1 [Here], 2 [Here], 3 [Here]

Thor stared at the hammer, gold lining the cracks from where Hela had destroyed it. Hesitantly, he held out his hand, the Hammer flying towards him, only to lose momentum and fall to the floor. Marinette silently sighed, she was worried this would happen, although Thor had stopped his more self-destructive habits, his own thoughts and self-hatred was something that she couldn’t help with.

Marinette grabbed Mjolnir and slung it into her bag. Plagg flew out and looked at the group.

“So, I take it that the others couldn’t join us?” Plagg questioned, looking around for the Kawamii.

“Wayzz and Trixx were lost in the snap.” Said Alya, “And Pollen barely leaves Chloe’s purse.”

“We think Hawkmoth was dusted as well,” Said Nino, settling himself down in a chair, “there haven’t been any Akuma attacks since the snap happened.”

Thor was quiet, before he leaned back.

“Gabriel married Nathalie.” Said Chloe, taking Pollen out of her purse and setting her on her shoulder, “so that’s at least one good thing.”

Adrien quietly snorted, Marinette throwing him a dirty look.

“We don’t know about the Guardian, since only you two knew who he was.” Said Chloe, ignoring the snort and the look.

“His name wasn’t on any of the monuments,” Said Marinette, “So we know he survived the snap itself. I’m going to visit his parlour, see if he’s still there.”

Adrien started walking around, tidying up any mess from the gap.

/*/

Marinette stopped in front of Fu’s parlour. From the outside, it looked as it had been shut down, but it still looked lived in.

Marinette raised her hand to knock on the door, and the door opened, and Master Fu looked at her.

“Marinette,” Said Fu, his voice hoarse, “I feared the worst, please, come in, come in.”

Marinette follow the old man into his home. The miracle box open, showing the Turtle and Fox miraculous, both grey and lifeless. Fu noticed her gaze.

“Both went like that during the event.” Said Fu, “I believe that everyone is calling it ‘the snap’ or something similar.”

“Yes, master,” Said Marinette, her head bowed, “I was actually wondering if you could do something.”

“I cannot restore the earrings, Marinette,” Said Fu, making Marinette’s head snap up to look at him, “I know that you need them to fix this, but they were created long before my time and the only ones I know would be able to restore them are the Sorcerer Supreme and The All-Father.”

“Both of whom are dead.” Said Marinette, her eyes falling to her lap.

“Yes.” Said Fu, “and even if I could, I would not be able to.”

“Why?” Marinette asked, fear settling in her stomache.

“I am old, Marinette,” said Fu, “Surely you have noticed how much effort it took me to open the door. I’m not going to be here for much longer.”

“B-but we need you, I need you,” Exclaimed Marinette, “You taught us so much and you’re the keeper of the Miraculous.”

“Not anymore.” Said Fu, looking up at Marinette, “You learnt all that I could teach you before you left, and I serve no more purpose other than to pass the torch to my successor.”

Marinette heard a scraping sound, as the Miracle box moved forwards. She looked at Fu, who only hoped that she would take the box. Marinette lurched forwards and hugged him.

“Please,” Said Fu, “Take care of yourself.”

/*/

The group heard the door close, and Marinette make her way upstairs. They could tell from the sound of her footsteps that something was wrong. Adrien poked his head out from where he was cleaning and spotted Marinette carrying the Miracle box.

“Oh no.” Said Adrien, before he rushed towards Marinette.

Marinette didn’t say much for the rest of the evening.

/*/

Adrien, Marinette and Thor arrived back in New Asgard a week later. Valkyrie spotted them as they arrived, taking not of the box in the little warrior’s arms.

“Is that what I think it is?” Valkyrie called, making them look at her.

“The hammer or the box?” Thor responded, “The Great Guardian of the gems is dying and named Marinette as his successor.”

“And the earrings?” Valkyrie pressed, making Thor sigh.

“According to the Guardian, the only ones who had the knowledge and power to restore them were the Sorcerer Supreme,” Said Thor, folding his arms, “and my father.”

Valkyrie winced, before she frowned in thought, “I could see if there’s anything that can be done to fix things, but I guess it’s back to square one.”

Thor hummed in agreement.

A loud shout told everyone that Korg had died, again.

/*/

Marinette ducked under Stormbreaker, quickly hooking Eruption over the handle and pulling downward. Marinette then found herself on the ground with Thor’s foot on her shoulder.

“I wised up to that trick that last seven times you pulled it.” Laughed Thor, before Marinette grabbed his other foot and knocked him off balance. Marinette vaguely heard Longg cackling at the sight of the God of Thunder hitting the ground.

Marinette and Thor heard the sound of footsteps up the path to where they were. Both looked and spotted Valkyrie, a nervous look on her face.

“Banner and the Rabbit are here.” She said, Thor and Marinette tensing up.

Ever since the failed mission to find Thanos and reclaim the stones, the Avengers had been all but abandoned, Tony had married Pepper and had a daughter, Natasha commanded what remained, Steve ran a support group, Bruce had gone off and no one knew what happened to Clint.

“Where are they?” Thor asked, rubbing his hand over his mouth.

“In your house.” Said Valkyrie, “They said it was important.”

Thor and Marinette made their way back into the village, everyone quiet as they approached Thor’s house. They found the front door open, Marinette quietly grumbling about poor manners.

They found them in the living room, with Plagg looking at the two, Korg complaining about NoobMaster69 or something similar, Thor took the headset and dealt with the issue, while Adrien was handling a baby with blonde hair and bright blue eyes. Emma blew bubbles at Banner and Rocket.

“I don’t suppose there is a reason for you being here?” Marinette asked, leaning against Adrien’s chair.

“We think we have a plan to get the stones.” Said Banner, before explaining about how Scott appeared and how Time travel was going to work.

“Doesn’t the Rabbit Miraculous do the same thing?” Adrien asked, making everyone look at Marinette.

“Yeah, but for something this big, the portals would have to be left open and everything would pass the same as it would in real time, and that isn’t accounting for anything that may come back through.” Said Marinette, her arms folded.

“Pleh,” Grumbled Plagg, “If the Earrings were whole, Tikki would be able to fix everything with the use of an amplification spell.”

“Too bad the only guys who could are dead.” Said Korg, making Marinette’s eyes light up.

“But they aren’t,” She said, getting some funny looks, “We just have to find the right place and right time.”

It suddenly dawned on everyone what she meant.

“Wha do we need?” Asked Thor, looking at Plagg.

“It’s all in the book, the ingredients, where they are, when they are and how to make the spell.” Said Plagg, “But for it to work, the entire Guardian Circle must be together and on the same side.”

“So, the ingredients from whenever, the Fox and Turtle from the past and a visit to my father.” Said Thor, gaining a nod, “Let’s go.”

Marinette and Adrien shared a look, before Marinette called out the door.

“VALKYRIE!”

/*/

The Avengers looked over the book.

“We’re going to need more of that red stuff.” Said Rhodes, making Scott look at him.

“Only Hank had the particle, its all we have.” He said, making Tony frown.

“Cap and I can go back to the 50’s, back then he was working with SHIELD and had the stuff.” Tony said, making Steve nod, “We can then go to Paris and get the Jewellery.”

“One of the ingredients, a seed from the Eternal Tree, is with the Sorcerer Supreme, so someone can go back to the Battle of New York to get that, as well as the Mind Stone.” Said Marinette, making everyone look at her, “We don’t know how effective the spell is going to be, I have no idea on if Vision is going to restored with it.”

“And if it is, we might be facing someone coming after it.” Said Steve, folding his arms.

“I’ll go, Scott and Adrien can come with me.” Said Bruce, getting a nod from the two.

“Blood of an Ancient god is were the Power Stone was kept.” Said Plagg, “I know because its my blood and I was the one that put it there.”

“I’ll take that one.” Said Rhodes, with Nebula indicating that she would go with him.

“A Bone from a Forsaken Sacrifice is on Vormir.” Said Marinette, her eyes narrowing at the scripture.

“Clint and I will tackle that one.” Natasha volunteered.

“A shard of a Great Beast’s fang or horn.” Said Marinette, head shifting when Thor raised his hand.

“If we go back at the right point, there should be one in my father’s vault.” Said Thor, “We can get that one while the earrings are repaired.”

“And all the other stuff we can pick up from the same or similar locations.” Marinette finished, her hand resting on her hip, “Let’s get to work.”

/*/

Adrien’s knees almost buckled as he landed in New York. Tony and Steve looked around them.

“Okay, Banner can go to the Sanctum, Ant Man, Chat Noir, you can get a ride with Tony, I’ll go in through the back and intercept the Sceptre.” Said Steve, getting a nod from everyone. Adrien looked at the ring on his finger, before telling Plagg to Transform him.

Adrien’s suit had gained a more armoured appearance since the last time he used it. He was pleased to learn that he wasn’t constrained to five minutes after using Cataclysm, Plagg also telling him about Dark Storm and Black Hole.

Tony grabbed the back of Chat’s suit and flew them up to Stark Tower. Chat made sure he had the data stick that Marinette had given him. Tony landed and set about getting the Sceptre with Ant Man. Chat creeped along the back of the room and plugged the drive into a USB port.

“I don’t think you are authorised to do that.” Said a voice, making Chat jump.

“It’s fine, Tony told me to do it.” Said Chat, hoping that neither of the Tony’s heard him.

“Unless I receive some proper authorisation, I will be alerting Mr. Stark and-” Said the Voice, before Tony appeared behind Chat.

“It’s fine JARVIS,” Said Tony, pressing his hand against a scanner, “He’s with me.”

“My apologies, sir.” Said JARVIS, “I cannot help but notice that your bio-signature is more than ten years older than it should be.”

“Time travel.” Chat blurted, before wincing.

JARVIS was silent before saying, “I have increased the speed of the download of my systems, sir and I have disabled Camera’s 20 through 87 to ensure that you are not detected.”

Tony frowned, before looking at Chat.

“Marinette.” He said with a shrug.

/*/

Marinette, Thor and Rocket landed in Asgard. Marinette could vaguely hear the Guards escorting Jane to her room and Marinette’s younger self to Odin.

“Okay, I’ll go drop in on Odin and myself, you two can go to the vaults and get the stuff.” Said Marinette, checking for Eruption and Hail.

Thor nodded and vanished with Rocket.

Marinette then turned around and walked head long into Heimdall.

“Ah, shit.” Marinette cursed.

Odin was halfway through questioning the girl about how she got the earrings when the doors to the Throne room burst open, with Heimdall dragging a young woman by the arm.

“I’ve found a trespasser, your Majesty.” Said Heimdall, shoving the woman forwards.

“Who are you and how did you get to this place.” Odin demanded, making the woman look up at him.

“That’s complicated and is a long story.” She said, looking around, her eyes falling on the girl with the earrings.

“I believe we have time.” Said Odin, leaning back in his throne.

The woman was silent, before she sighed.

“Alright,” She said, “I’ve come from the future, roughly eight or nine years. My name is Marinette, I’m the older version of her and I need something fixed.”

Odin narrowed his eye at the woman, seeing that she was telling the truth.

“Then tell me, Marinette, what is it you need fixing and why come to me instead of the Guardian?” Odin questioned, making her look down.

“The Guardian was unable to restore them, and he passed not long after.” She said, “There was a battle, a battle against a mad titan by the name of Thanos. During said battle he secured the infinity stones and wiped out half of all life in the universe. To ensure that no one could undo what he had done, he damaged the earrings and destroyed the stones.”

Odin frowned, he knew of this Thanos, but has yet to cross paths with him.

“We learnt of a spell that could amplify the healing effects of the Miraculous cure and we’ve started collecting the required items, but,” Said Marinette, her younger self frowning, “with the earrings damaged, we have no way of casting the cure.”

Odin held out his hand and gestured for Marinette to give him the damaged earrings. Marinette reached into her pocket and produced two cracked burnt earrings.

“It seems he was intending to destroy them.” Said Odin, looking over them, “I take it he didn’t know of their ties with the rest of the Universe?”

“No, sir.” Said Marinette, as Rocket rushed into the room, being chased by a large group of Guards.

“This still going on?” Rocket questioned, as he crawled up to Marinette’s shoulder, “I lost Thor at some point.”

It was at that point Frigga entered the room with Thor at her heels. Marinette noticed that Thor’s younger self was watching them.

Odin’s hand closed into a fist and a bright light emitted from his closed fist. Odin released his grip, producing two intact Ladybug earrings. Marinette shakily reached out and took them, putting them on. A bright red light appeared and turned into a Kawami, Tikki opened her eyes and looked at her chosen.

“Marinette…” Said Tikki, as Marinette cupped her hands around the small god.

While Marinette was reuniting with Tikki, Frigga pulled Thor over to his younger self and told the younger Thor to put Mjolnir down.

Frowning, the younger placed Mjolnir on the floor and watched at his mother turned to his older self and told him to pick it up.

“I can’t,” Said the older Thor, “Something happened, something that made me no longer worthy.”

Marinette looked up from Tikki, her younger self looking really lost, and looked over at Thor.

“If this is about Wakanda, and how Thanos didn’t die,” Marinette said, “That doesn’t make you unworthy of a magic piece of metal.”

Thor spun around and glared at her, Mjolnir flying into his hand. Surprised, Thor looked down at the hammer.

“I’m- I’m still worthy.” Said Thor, looking as if a weight had been lifted from him.

“Odin,” Said Marinette, drawing the attention of the All-Father, “Thank you, for everything.”

Odin nodded, prompting Rocket to prepare for the jump back to their time.

Thor tried to say something to his mother, but she stopped him. It wasn’t until the time travellers were gone did the present Thor say, “They took my hammer with them.”

/*/

The team all landed in the facility, each dusting themselves off. Marinette turned and looked at Clint and Natasha, both of whom were covered head to toe in a dark brown substance that Marinette hoped was mud. Unfortunately, the smell told her otherwise.

“Alright, we have everything.” Said Tony, as Adrien plugged the data stick into the computer, “Let’s get to work.”

An hour later the spell was ready and Marinette transformed into Ladybug. Like Adrien, her suit had gained more armour to it, as well as giving her boot practical for her constant use and a jacket. Marinette wasn’t sure what the Jacket was for.

“I’ve got the Miraculous.” Said Adrien, “Hawkmoth should be arriving any moment now.”

“Sir, I have an unidentified vehicle requesting entrance to the facility.” Said JARVIS, making everyone but Tony, Adrien and Marinette jump.

“that would be the moth.” Said Tony, As Adrien pulled the Peacock Miraculous from his pocket.

Adrien left the room and returned with Chloe, Alya, and Nino. Marinette saw Gabriel and Nathalie and, despite all the pain the two caused her, she smiled.

“Everything ready?” Marinette asked, as Nino and Alya put on the Turtle and the Fox, becoming Carapace and Rena Rouge, Chloe transforming in Queen Bee and Hawkmoth and Mayura making an appearance.

Marinette silently conjured a lucky charm and said, “Please, lest this work.”

Marinette threw the charm into the air and as it reached its highest point, she snapped her fingers and the Wave exploded outwards.

[detective-with-one-arm]

RK800/RK900 Verse Headcanons

This one had a long time coming, so here we go

Pre-deviancy:

Wears her hair in a ponytail, the two big pieces on the sides of her head sideswept and clipped off to the side.

Doesn’t anger as easily/lose her patience as Connor would.

Her responses in many instances with Hank are very different in attitude.

Her priorities in terms of emotional responses are also very different.

She shows more concern towards Hank than is perhaps wise, but he is her partner for the case, so being amiable is ideal for their success. And showing concern and being actively involved in his queries is a way to ensure that.

She shows more remorse for the fact that she’s incapable of understanding human emotions and tendencies than it also wise, but she doesn’t show it because she feels bad about it. It’s just a fact for her. But she shows remorse for that fact because of Hank’s desperation to see something human in her and the distress he feels at the failure to do so.

Which, ironically, makes him see something human in her.

She’s a lot more apologetic than Connor is as an RK800.

Her wording and language is a fair bit more flowery and her phrasing is much more delicate than Connor's and she takes more note of the quality of Hank’s character than his capability as an officer.

Her deviant disguise is a leather jacket overtop of a hoodie, of which she pulls over her head to hide her LED.

A couple examples of how different her responses are in certain situations are:

Hank: So, what’s your conclusion?

Connor: I think working with an officer with...personal issues is an added challenge. But adapting to human unpredictability is one of my features.

Rachel: I think you're a highly capable and decorated officer, and despite your more recent...decline, I welcome the challenge and opportunity to work with someone with your...tenure. And I'm pleased to inform you that adapting to human unpredictability is indeed one of my many features.

And at the bridge, when Hank has his gun on her, her “Defy” response is also very different:

Connor: You know you're not going to shoot me, lieutenant. You're just trying to provoke a reaction. I'm afraid I'm going to have to disappoint you.

Rachel: You won't shoot me, lieutenant. You're only doing this to see even the slightest sign that I'm just as capable of emotional outbursts as you are. That I'm not just software and wires. It's not your fault that I'm incapable of understanding the human condition, nor is it mine. But I am sorry that that's an aspect neither of us will ever understand.

Post-deviancy:

Humans are very confusing.

There’s so much about humans that Rachel still doesn’t understand even as a deviant.

What frustrates her most is their self-destructive habits and their propensity to anger.

She’s disillusioned with humanity’s need to prioritize and assign unnecessary meaning to things that are neutral and their need to create conflicts over the most pointless things that could’ve been solved in a single sentence.

Instead of a coin, she has a pen she fiddles with.

She lived with Hank for a brief while before she got her own place. A small apartment with a view of the city.

She’s tends to be attracted to more niche pets. The kind that tend to be neglected or ignored by humans, such as rats.

She has a couple of rats named Loki and Hermes.

She also has a ball python named Kaa and a tarantula named Sheila.

Despite having her own place, she still likes to spend time with Hank and Sumo and checks up on his health and well-being. She encourages him to take better care of himself.

Overall, when she’s not working at the precinct as his partner, she’s out and about. Rachel cannot ever sit still and she’s always restless.

Despite being assured by Markus, North, Josh, and Simon, she still feels a tremendous guilt over her former role as the deviant hunter. She knows she’s redeemed herself in the eyes of her people, but some part of her still can’t believe it.

She’s afraid of Amanda taking control of her again. She’s never fully sure if she ever really escaped from her handler and it doesn’t bode well for her mental state.

Machine:

Entirely utilitarian.

She is not cruel or spiteful or anything.

Everything she does is strictly with the mission in mind and she will stop at nothing to accomplish it.

She seeks the most efficient and direct solutions to her obstacles and will dispatch whatever threat is in her way however she deems fit.

While she will avoid violence as a first response, she won’t hesitate to choose it if it suits her needs and feels no particular way towards or against it.

It is merely a tool to use. Like every facet of herself and everything around her.

RK900:

I’m not gonna make a separate verse page for this one, so I’m just gonna do this right here.

RK900 Rachel is a military android, 200,000 of which were ordered by the U.S. military.

However, after the revolution, the model line was distributed elsewhere, military, FBI, SWAT, police departments, anywhere of the sort.

RK900 Rachel’s more of a stiff than her RK800 counterpart.

While RK800 is a lot more mellow and pleasant and approachable, RK900 is cold, blunt, awkward, and not much for small talk. She’s a bit difficult to get along with and talk with. At least, at first.

Once you’re actually in her good graces, she opens up a little and shows that despite her purpose being to be a military android, she’s actually incredibly gentle and kindhearted. She just conceals it behind a stone face that might not really be so stone-faced.

Rachel prefers being called Nines or Nine Hundred. Especially if her RK800 counterpart is with her.

[videogamesincolor]

Detroit: Become Human (2018) -Exploitative Sci-Fi for Gamers

The Following article contains major spoilers for Detroit: Become Human

Folk can’t quite believe DBH’s player base loves Markus by an 80% plus margin. It’s like Grey’s Anatomy doesn’t exist or something.

On some level, Quantic Dream’s video games following Beyond: Two Souls are going to be a mechanical refinement of their gameplay, and not much else. If the Ellen Page driven game demonstrated anything, it was that the studio’s creative head has an innate inability to learn from his mistakes and he’s got a fetish for particular narrative cues, and all of them revolve around violence, racism and shock value.

Detroit: Become Human shares a lot in common with Max Landis and David Ayer’s 2017 direct-to-Netflix film Bright. Both are allegorical tales that utilize the iconism, present and historical, of the Black community and their key movements as a backdrop for the oppressed fantasy caricatures of their tale. With Bright, Orcs were the Allegorical Black community of the here and now. 

With Become Human, Androids are representative of the Black community at various points in our people’s history. All of it is supported by the locale of Detroit, Michigan, a state with connections to the Underground Railroad (the game hits you with this trivia bit right off), Martin Luther King Jr., and anti-black violence that embroiled much of the United States when my parents were children.

Bright attempted (and failed) to re imagine some weird not-so-post-racial world where Tolkien-inspired aesthetics and archetypes were our history and influenced our present, with little changed about our factual history. Mankind is united in mutual hate of Orcs, and the motto “Black Lives Matter” continues to be a punchline to those unaffected by police brutality in a world where fairies are the equivalent of pests.

Become Human is yet another in the long line of over bright and sterile science fiction games that want to be Blade Runner, but doesn’t have the wherewithal to pull it off. And this is mostly because it’s too busy trying to shout “message!” For lack of a better word, Become Human gags itself with its own allusions despite some particularly interesting mechanics and sequences that exist within the ham-fisted racism narrative.

What is Become Human about?

The primary narrative of Detroit: Become Human is driven by the story of “Markus” (Jesse Williams), a specialized android, that, like most, runs the risk of triggering a dormant "virus” that simulates sentience in androids. He was gifted to old artist by the android creator (a man named Kamski). The beginning of his narrative sees him care for Carl (Lance Hendrickson), the old man in question. 

He gets kicked around by anti-robot protesters, and has to ride the back of the bus with other androids. After telegraphed prompts that tell you his mistreatment at the hands of Carl’s son, Leo, is not far, the virus triggers itself, Markus begins to act of his own accord. The end result, where he may or may or not kill Leo, or simply gets blamed for the death of Carl when he dies of a heart attack, leads to his being shot by the police.

After he’s practically destroyed, he reactivates and he pulls himself out of the mud Shawshank Redemption-style and finds an abandoned ship full of busted androids that were looking for a leader. Markus, not interested in hiding the shadows, more or less appoints himself in that position because he’s the only one with some kind of proactive goal: To end enslavement of androids everywhere.

The secondary narrative focuses on a service android named “Kara” (Valorie Curry), who was busted up by her owner - a man named Todd Williams (IIRC) - during an abusive fit against his daughter, Alice. After she’s repaired, Kara returns to his home and resumes caring for him and Alice and accidentally discovers that Alice is not a human child, but an android (apparently Todd’s wife left him for an accountant and took her daughter with her). She ignores it, and, under duress, gains sentence when she believes Todd is going to kill Alice while high on Red Ice (a hyped up version of Crack).

She runs away with Alice in the hopes of reaching the Underground Android Railroad to escape to Canada where there are no robot laws, and encounters a fairly large (Black) Android named Luther, who decides he’ll do anything to protect them from harm.

The third narrative is that of “Connor” (Bryan Dechart), an android type, designed specifically for police investigations. Connor is sent to work with a grouchy old detective named Hank Anderson (Clancy Brown), who hates androids (because reasons) and doesn’t want to be bothered Connor’s overly stiff behavior and awkward attempts to get to know him. 

Connor and Hank effectively run behind the likes of Markus and Kara, their narratives intersecting every now and again (until the end of the game), trying to figure out why Androids keep going homicidal and killing human beings.

While Markus’ plot drives the surface narrative, not unlike Bioshock Infinite, behind the scenes, the plot of Become Human involves a faceless corporation named CyberLife. From how I understood it, CyberLife, with the sole living monopoly on android creation, is looking to create an artificial conflict between humans and androids by using a virus that simulates sentience in machines that causes them to rebel against their owners.

When enough chaos is created, CyberLife would keep up the facade of an issue and supplant their man-made rebellion against humans using android (Connor) with no real “free will” of its own. It’s about as sci-fi as you can get and probably should’ve been the focus of the narrative from the jump.

Characters in Become Human;

I can’t wait to see white-face Android cosplay at this year’s conventions :D

Out the three playable characters that the player can control, the androids Kara and Connor have narratives that are focused more on the “personal” than the Frankenstein politics of the game that Markus represents. Performance wise, of the three characters, Valorie Curry and Jesse Williams give an ideal “robotic” performance that feels natural to their characters respective roles. 

Of the characters within Markus’ narrative, Josh and Simon are probably easiest to become endeared to. They have opposing opinions on how to handle their rebellion, but they’re not rivals. They have the strongest rapport with Markus, but the game barely gives either any screentime so they’re effectively minor characters that get wasted for some arbitrary “Josh and Simon will remember that” nonsense.

She’s like that guy from Two Souls who wouldn’t take “no” for an answer

Carl is an obnoxious “nice old man” type that’s supposed to represent the best of humanity, but given the context of the world, he’s willfully ignorant to the climate that game itself ignores, and his interactions with Markus are uncomfortable to watch. The narrative pushes the android North (Minka Kelly) at the forefront of the Markus’ narrative (at the expense of his relationships with Josh and Simon), and she is the least interesting character out of the bunch that gets face time with Markus. She simply exists to say “Hey, Markus, choose violence” and instantly be promoted to lover. Simon and Joshua are right there, my mans.

Markus himself is a frustrating character for me, because (aside from my scruples with his actor) he is so representative of a white writer’s ideal Black character. It’s hard to even root for the character beyond the general principal. His arc stokes a kind of anger in me like nothing else. And the other part of me simply cannot wrap her head around Jesse Williams (a former public school teacher, with more than a little knowledge on racism) just signing off on this nonsense that effectively makes the character what he is. But, this wouldn’t be the first time a Black actor made questionable career choices.

With Kara, what keeps her narrative engaging are her interactions with Luther, Alice, and her denial that Alice isn’t a machine, but a human girl. But, Kara’s disadvantage is that she is a female character created by David Cage, so he spells out to the audience what he thinks she is: A motherbot to a childbot, that’s her entire role.

Why can’t we be friends?

Her desire, her want to save Alice from Todd isn’t Kara being concerned about someone who’d be under her care, someone who has to rely on her for help given her age. Instead it’s treated like the path to motherhood as opposed to a friendship. It’s like watching a version of Ripley and Newt’s relationship in Aliens where the reason for Ripley and Newt eventually regarding themselves as mother and daughter (their shared loss) doesn’t exist. Even the guy who assaults Kara and (potentially) wipes her memory assigns motherhood to her concern for Alice and it’s like, “well, that’s a bit fucking presumptuous of you, mate”.It’s really gross.

And in that sense, Alice isn’t a character; she’s a narrative tool to further exemplify Cage’s odd fixation this particular aspect of femininity. The performance of the actors sells the relationship quite well, about as well as Ellen Page sells the suicidal agony of her character Jodie Holmes in Two Souls, but the sudden promotion to “mother and child” is unearned and artificial.

The attention to detail that goes into Connor’s narrative, the choice of whether or not the player will allow the virus to trigger sentience, or go full on Robocop and fulfill the desire of CyberLife to the letter, is not the kind of detail you see in Kara and Markus’ tale. His narrative is primarily driven by the pseudo-paternal relationship he ends up forming with Clancy Brown’s Hank Anderson, who mourns the death of his son (insert “Jason!” joke here), but for reasons completely unrelated to his hatred of androids (he admits that much in the climax). 

Every time the game puts Hank in danger, you’re given the choice of perusing the mission or risking a 40-80% chance of survival doesn’t mean the game will fuck you over and kill the Kurgan. I’m gonna assume everyone dove over their coffee tables to save Mr. Krabs and hung the mission.

Clancy has really round eyes, and I’m just noticing that for the 1st time

The he arc is as engaging as it is because of Clancy Brown’s performance. Dechart tries, he’s got a great rapport with Brown (unquestionably), but his limits are obvious. He often sounds like he’s putting on an act, something you shouldn’t be thinking of during an actor’s performance, and that can be distracting (I’m sure the direction doesn’t help either). I wouldn’t be surprised if that some point Quantic Dream was debating over whether or not this would be a game focused solely on Kara or Connor. Markus feels like something that was jammed into the game at the last minute to satisfy Cage’s celebrity itch and ideas of being progressive. That’s something I’ve always thought since they debuted the character back in E3 2017 (IIRC).

Out of all the human characters in the game, Clancy Brown’s Hank Anderson is the only one that feels like a person and not a plot device. Sure, he’s wrapped in all the trappings of a generic loner cop who hates partners (insert Buddy Cop Reference Here), but Clancy Brown manages to make an otherwise dull character work. On the flip-side, the generic asshole cop is such a walking stereotype there’s nothing genuine about his interactions with anyone.

He’s just there to reinforce the fantasy prejudices of the game and harp on and on about “them robots are gonna take our jobs”. Like, he didn’t need to exist because he does not contribute to the plot. The all too comical way he says “Fuck” (like he’s sneezing or some shit) – in a poor attempt to emulate the frustrations we often see in procedural dramas or action films when a standoff occurs – only further highlights how much of a caricature he is. This nigga can’t “bad cop” to save his life.

There aren’t a lot of characters to write home about in Become Human, or if there is I keep forgetting all about them and I can’t be arsed to recall them. Most of them are inconsequential and disappear after a single level appearance. If I’m being honest, I don’t hate the characters in Become Human (not most of them), so much as I loathe what some represent.

The Mechanics of Become Human;

Next Level Detective Vision(TM)

Become Human’s strength lies in being what I think is a fairly solid attempt at broadening the multiple choice system Adventure Games are otherwise derided for by individuals with a limited idea on what constitutes as a video game. It’s clear that Quantic Dream has taken cues from the likes of Dontnod Entertainment and Supermassive Games’ Life Is Strange and Until Dawn. Both are studios (with writers) managed to create a pair of fairly compelling adventure games, with wildly different takes on the multiple-choice system that’ll probably be remembered better in the positive than most, Quantic Dream included.

There are a number of outcomes that can happen within the game, depending on your actions. Some things change completely, other times it feels like a lot of its surface detail meant to wow you the first time. There’s usually only one conclusion to a level. For instance, even if Connor investigates the ruined house that Alice and Kara are hiding in, the end state is always going to be Kara and Alice escaping, no question about it. Markus always ends up getting shot and torn apart. Whether or not you decide to attack Leo doesn’t change his end state.

From my understanding there are multiple endings a player can get based on what the game decides are “morally wrong” decisions. Connor killing Androids for example, may always lead him down to a path of deactivation if you choose to fulfill your mission to the letter. Some, if not most of the central player characters and their cast can die. Hell, Markus can apparently just peace out of being the leader of the farcical android rebellion and North will take over in his place (that cracks me up). And one the more extreme options is to nuke Detroit to run the humans out of town. Whether or not it’ll make sense is another matter entirely.

Depending on the length of the levels, there are a number of things you can investigate and locate with the help of detective vision. Most of it really doesn’t inform the world in any meaningful way, a lot of it is collectibles for the sake of collectibles that never carry any consequence into the game (and the one item that does, is hidden and used as a moralizing plot twist that reeks of Cage brownnosing). The rest actually effects what you can say to characters.

The more details you find and learn about, the longer your multiple choice dialog lists becomes for certain characters. The problem, like with most multiple choice prompts, is that single words defining the response often lead to “oh, wait, shit, I didn’t mean that!” Because Cage clearly had different ideas about what “determined” and “uncertain” meant.

Jesse Williams??? In my junkyard???

If you’ve played a Quantic Dream game, then you know the deal mechanically. Motion Controls and Quick Time Events that more or less act like a fast forward button on a cinematic. Things you’d otherwise be able to do with basic button inputs, or a push of the analog stick, without any sort’ve guide, are rigged to Quick Time Events and motion controls. Want Marcus to stand up? Well you gotta wiggle that control and press and hold down numerous buttons before the cinematic decides to allow him to stand up. 

It’s basically Telltale mechanics, which isn’t bad per say, but I like being able to stand up without playing Twister. The most freedom you get as a player is being allowed to walk around – to some degree – at your leisure (unless you’re being time attacked) and just take in the environment and click on stuff. In some instances, if you take too long, the game jumps to the next cinematic and that’s that.

Respectively, Connor and Markus are the only two out of the three androids that can create or recreate scenarios of through the study of their environment or certain objects. Markus can deduce whether or not he can make certain jumps or defenses against attacks. Connor can more or less do the same, but his mechanic is structured around picking up objects in crime scene and recreating a simulation of how events may have happened. 

Kara lets her Otaku flag fly

Compare all of that to Kara, who can just change the color of her hair from blonde, black, brown and white. Her whole character seems built around her pixie hair cut and to that degree, the banality of her attractiveness (and remembering the creepy as fuck tech demo this game spawned from reinforces that). Yet, Connor and Markus can be both “attractive” and “functional”.

Philip Sheppard, Nima Fakhrara, and John Paesano compose what I think might be the best score from a Quantic Dream game I’ve heard after Beyond: Two Souls (which had Lorne Balfe and Hans Zimmer as its composers). It clearly apes the Vangelis aesthetic in a lot of places (namely Connor’s segments), but each character has a unique theme that either gets integrated into myriad of moods the music can adopt, or plays straight in a lot of sequences. It works pretty well as background noise, separate from the game.

All this scene needed was a saxophone

Another strong element in Become Human, outside of its narrative tree design, is the game’s environmental design. Become Human takes what are apparent cues from Dontnod Entertainment’s Remember Me, which imagined a futuristic Neo-Paris with a far more grounded approach than something like the direct-to-Netflix film Mute or even Blade Runner 2049, which is all lights, holograms, smog, and high-rise buildings. Become Human is chuck-full of nighttime shots, and rainy environments. There are still remnants of the old Detroit, but its slowly being dominated by the future that shouldn’t be able to sustain itself with a 40% unemployment rate, but go off Quantic Dream.

If you’re the type who’s easily wooed by high definition graphics (which isn’t something to write home about anymore. It’s done capped itself), especially with all the hub-bub going around about 4K RESOLUTION AND 4K SCREENS, then Become Human won’t have to do much to impress, just hit you with a lens flare.

With regard to cinematography and choreography, when Become Human is good, it’s good. Two of the strongest sequences in the game are the dead end story thread where Connor and Hank go checking into a bird infested apartment occupied by a runaway android, and the entire attack on the Jericho. Connor’s pursuit sequence is, for the most part, is pretty well directed, and it’s what I look forward play in a game like this. But, its also where the QTEs hindrance comes into play far more often. It’s not the kind of scene that needed anything except the prompts telling which way was safer and which way was quicker.

The Jericho siege is a fast paced implementation of the character perspective switch (that began slowly in earlier parts of the level) that works to keep varying levels of stress pressed upon the player. You’re encouraged to hide as Kara (she ain’t shit in a fight) and the game tries its damnedest to kill Luther (<_<), Markus has to save everyone he can (top priorities: Josh and Simon) and suddenly gains the ability to Keanu Reeves just about everyone in his path; Connor, from I can recollect, is more background support for Markus and gets shot if you try to save North (<_<). It’s cinematic when it counts and interactive where it matters.

Those are the two stand out sequences. The rest of the action in the game is more reflective of the awkward “which Connor is the real Connor?” fight scene which is just clumsily shot and broken to hell with QTEs (to say nothing of how botched the “tell me something only the REAL Connor would know” scene was).

Questionable Worldbuilding

Kamski, David Cage’s self insert.

There’s a certain level of suspension of disbelief required when it comes to science fiction. Unless you’re an author like Michael Crichton (who lived and died by the amount of [academic] research he put into his stories, or borrowed from his own experiences) science fiction – moreso than fantasy –, especially dystopic science fiction, is always gonna be amalgamation of fact and some nonsense an author threw at the wall.

But the mark of a good writer is usually the one who has you thinking about the ideas presented in the narrative, not what you as an audience member would’ve done to fix the narrative’s persisting problems. In this case, Michael Crichton is the former. David Cage is the latter.

The world in Become Human doesn’t feel lived in. There’s no real explanation as to how the world in the game got to where it is, and its obsession with “World War 3″ is a lazy dab into politics. There are places and circumstances that fit each situation in the narrative, but on a whole, it doesn’t feel like a place that could actually exist like Middle Earth, or even the Earth of Harry Potter, which blends the “wizarding world” and the “muggle world” together quite well without creating a grievous dissonance in the narrative. It’s a collection of sets characters are strolling through.

Cage lifts strife and topical issues from the past and present to build his world, but utterly fails to understand the context and environmental circumstances that informs what are issues steeped in anti-blackness and white supremacy. He’s not unlike Zack Snyder, who is so preoccupied with how “cool” a scene in his movie looks, there’s never anything of substance in the final product. The depth of his understanding of racism, mass deportation, and antisemitism is that it’s “bad” and not much else.

For instance, there’s little explanation as to why Canada has no Robot Laws (not one I found), or why ‘sentient’ Androids would even assume why they’d be safe there and not sent right back to the United States. Another head scratcher is a law only recently required androids wear signifies that they were machines, when uncanny valley still seems to be a hugely noticeable problem (at least when the plot requires it).

There’s the usual Cage mumbo-jumbo of a messiah figure come to rescue his characters from strife (RA-9, the androids call ‘em), but given that the game constantly implies that “Deviancy” was not a widespread or common thing until recently, the attempt at creating a “folk hero” character for the Androids make little sense given the story fails to properly set up its protagonists conflict. Its ever only brought up in a explanation manner and dropped shortly thereafter. it’s untrimmed fat for the investigative bits of Connor’s gameplay passed off in a move to make the world seem more lived in than it is.

You can’t afford a job, you can definitely afford to oppress a android

The big talking point that many believe punches holes in the narrative is how the implementation of Androids have impacted humans socially and financially. Become Human presents itself as a pseudo-futuristic world (set in Detroit, Michigan) of 2038 (twenty years from now) where Androids cost the equivalent of what some folk I know think an Apple or Google Android cellphone might twenty years from now (it’s like $8k or something?). Even if you’re hard up for cash or living hand-to-mouth with a drug habit, you can afford an android somehow.

Androids are allowed to participate in sports despite the general danger to human life that poses, but no one really comments on that (you only know about it because of a collectible) in the game. Not a single person of color took issue with the fact that a rich white man created androids that looked like people in their community, and effectively built them for nothing except labor, sex bot fun times, and absolute servitude.

Androids have also become so prevalent as the labor or work force, that 40% or more of the American population (I guess??? It’s unclear) is out of work. And In which case, old man Carl, sitting financially secure up in his mansion with an android, is the personification of a rich man out of touch, but having the gall to look down on the protesting poor (which is not how the narrative frames in the least).

Reasonably, this should mean the economy is in a bad way on some level. Yet, the states is somehow stable enough to maintain pristine streets, glossy stores and a thriving economy, despite most people being too broke, poor, or out of work to actually support it.

Capitalism has gouged a hole so badly into United States, it shouldn’t be able support itself the way the game presents, and this is based on just how utterly messed up the general landscape of unemployment in the Great Depression was at a mere 25% (15 million unemployed) as most people keep bringing up. And that was following a market crash that’s often used as barometer against the 2008 market crash. Our current unemployment rate is apparently  3.8% and the US has more problems than it can manage.

You’d think the world would actually look like something out of Days of Future Past or Judge Dredd, or maybe even mimic what was documented during the actual Depression (a little less extreme than the above). But, no, not really. Folk aren’t rioting in the streets, being suppressed by the police, aren’t demanding something be done a corporation that put them in a bind, or trying to overthrow the government for fucking them over the financial hole with machines. (Or at the very least leading the rich to the guillotines.)

No, most (even people who aren’t financially well off) still live relatively comfortable lives, maybe a few of them are homeless because of the android situation, but for the most part nothing seems to have really changed. And thinking about that just rather leads you down a rabbit hole of, “okay, well, how different is the economy from our reality that this can happen and the world is functioning as it were the 21st Century present?”

The future ain’t no promised land...

The game also wants to make a big to do about there being a white female president (more brownnosing from Cage), but the most you ever learn about this character is in a collectible and she simply exists to appear at the end of the game’s “good” or “bad” endings then disappears. And for the most part, considering he’s not exactly preoccupied with how politics plays into capitalism, what is so progressive about a white female president who isn’t all that bothered by the fact androids have put most of the people who probably voted for her out of work, and doesn’t lift a finger until androids start going homicidal? She not getting reelected.

The “humans are racist against androids” spiel falls further apart you realize that Cage wants to draw a parallel to a couple people with signs and the homeless, to the literal white supremacists of [middle] America that voted Donald Trump into office on the promise that he would deport and exile immigrants that “took American jobs” from the hard working racists of the United States. He wants people to believe that, when he’s created a circumstance where people would be rightfully pissed that they’ve been replaced by machines (who aren’t immigrants, let alone prisoners in Nazi Germany) and have no financial means. But, emotions, y’all, machines are people too.

Mankind in Become Human is united by their mutual racism against robots. So much so, that the habit of referring to machines with gendered pronouns or pet names is a thing of the past. Male or female coded androids are just “it”, not “they”, “she” or “he”. Racism is apparently a thing of the past. Sure, Rose (Harriet Tubman reborn) makes a reference to historical racism, and Markus bleats, “human have been killing each other over skin color and god for eons” (as though this is supposed to distance the android narrative from the allegory Cage wrapped his game around), but for all intents and purposes, you never see this this exemplified in the game that isn’t an [un]conscious display of Cage’s racism.

Like most allegorical worlds, Cage’s world is so preoccupied with creating this victim paradigm with robots, that it appears post racial to the point where the only problem that exists is basically “goddamn, I really hate those robots taking our jobs”.

For Tracy, Blue Hair Tracy is the Warmest Android

Hell, Homophobia’s not even a problem, because two female robots with the same face can basically declare their love and the only thing unusual about it is “Robots in love? I can’t comprehend that!” So, the one thing that needs to be Kumbya’ed into the past is anti-android sentiment and thanks to the multiple choice system in the game, you can either eradicate android resistance, or create a world they might sorta kinda be free (or at least the lead characters can).

For all the bluster about humans not seeing robots as individuals, they protest against and treat the androids like they’re individuals, as opposed to protesting against them as symptom created by a company that exacerbates their problem.

Appropriating Specific Pains For Entertainment

A Black Cop faces Androids mimicking Hands up, Don’t Shoot

The internet was a big part of why so many Black voices have been heard in the wake of what has always been a commonplace thing – the violent and needless deaths of people within the Black community, man, woman, child and infant. The period between reports on the exoneration of the police officer who murdered six year old Aiyana Stanley-Jones in 2010, and the murder of Trayvon Martin in 2012 seems long enough that, if you simply weren’t paying attention, you’d never consider it an epidemic like we do now.

But the deaths of Michael Brown, Eric Garner, Tamir Rice in 2014 and Sandra Bland and Freddie Gray in 2015 all seemed to bring an end to that. The less than graceful handling of the issues by the white media made it impossible to ignore how the damaging effects of the frequency of Black death were, created Post Traumatic Stress in the Black Community.

David Cage, in perhaps one the more naked displays of ignorance, decides it’s a good idea to use the imagery of the Black Power fist to represent oppressed machines wearing human faces. He decides the plight of the androids, who protest in the same fashion Black Americans did in Ferguson, Missouri, New York City, and Baltimore City, their hands up and marching through the streets, is a comparable to demanding the end of state sanctioned police brutality. He decides, the comparison of machines who suddenly gain sentience for little to no reason other than their creators manufacturing a fake rebellion for shits and giggles, to Black lives demanding that people stop killing them, are comparable situations.

She can’t quite believe the tagline she comes with

Throwing them in the back of the bus, slapping them with iconism that draws allusion to the Jewish Holocaust (which gets worse with a bad ending and references of Androids herded into camps for destruction), parking them in place like bikes, and putting them on display in stores (like slaves being auctioned off) is sensationalism mean to pull at the heartstrings – and it’ll definitely get you feeling some kind of way, that’s for sure.

I think the one thing that truly made me ill was reading subtitled off-screen dialog near the end of the game say, “Androids were being hanged all along Woodward Avenue.” It repeated in my head like an ugly mantra and I kept having to pause so as not to throw fit. The levels of irresponsibility that you have to cradle yourself in to think it’s remotely okay to invoke mass lynching imagery...

Dehumanization of enslaved Africans, whom white people regard as sub-human is not remotely comparable to androids meant to stage a manufactured rebellion by a faceless corporation headed by a deviant Black woman playing Hal-9000.

It’s a bad look and doubly insulting to just co-op the history of the Underground Railroad, which is another anvil on the audience’s head just in case the last couple weren’t quite enough for you to get the message.

And the way Markus and eventually every robot “frees” itself from “slavery” merely makes them look robots under the control of a hive-mind. They fall in line without question. They’re not acting as individuals, who’d have wildly different reactions and desires to any given situation. They literally act like the robots in I, Robot under the control of overlord A.I. that decided humans couldn’t be trusted not to kill themselves.

Anti-Blackness, Sexism, and David Cage

Yeah, I got nothing...

David Cage and his long romantic affair with anti-Blackness and sexism is one that is otherwise well documented, but largely ignored by the gaming community who still think addressing racism perpetuates racism and saying “SJW” indentures them with any remote credibility. To say nothing of the white liberals who’ve showered the game with praise because they’re convinced this is a profound take on the oppression narrative..

It’s unquestionable that David Cage is fixated on inserting violence done marginalized groups in his stories. He is incapable of handling the issue with maturity. And the news that his company reflects those same toxic ideas has spread long and loud enough that trying to pretend either is not a problem in this day and age in the name of “not ruining fandom’s fun” is stiflingly ignorant.

Sex workers/sex bots (all androids now) are brutally murdered and raped for not much else beyond the furthered narrative of characters like Markus and Connor. North only admits to being sexually assaulted so Cage can set up her as a lover for Markus, regardless of the player’s potential disinterest in romancing or interacting with the character. North doesn’t exist for much else besides being a prop for Markus and Cage exemplifying M/F relationships are compulsory in his universe.

Lesbians are used merely as a barometer for Connor’s morality, and are so ham-fistedly stuffed into the game (with awkward zoom-ins on their clasped hands, not once, but twice), that you can hear Cage patting himself on the back for even daring to think about two women in love on such a shallow level. They have no character or personality beyond that.

Child abuse and the abuse featured in the game feels jammed into a narrative that also wants you to sympathize with Alice’s father (Todd) because he immediately apologizes for being shitty. It’s also another excuse for David Cage to write a male character calling a female character a “bitch”, which is a reoccurring theme in all his games. Kara is constantly threatened harm by men and put situations where she barely escapes danger (or doesn’t) in ways that Markus and Connor aren’t. This is all meant to endear the audience to her relationship with Alice and her tenacity.

Kara and Alice ain’t even safe from the noble hobo androids

If you decide to go toe-to-toe with Todd to save Alice as Kara, Kara doesn’t get to throw Todd through a wall or even get the better of him with super android strength. She gets strangled, punched, and tossed about as though she weren’t an android but a normal human being. It’s like realizing that Jodie Holmes (Beyond Two Souls) isn’t Carrie, but is completely dependent on a ghost to protect her from sexual assault or danger in general. It’s the anti-thesis of the scene in Ex Machina where Ava (an android with a lightweight frame design) gets the advantage over Nathan. Kara and Alice barely escape with their lives.

It just comes off like cheap exploitation for the sake of making your female character suffer and it’s such a cartoon-ish portrayal of assault and child abuse. The scene wherein Kara is tied up and potentially stripped of her memory is mirrors the scene wherein the reporter in Heavy Rain is tied up and attacked by a serial killer who wants who to saw her in half and assault her.

Things get progressively worse when you start to consider how Black characters outside of Jesse Williams are utilized. The majority of Black characters represented in the game are supporting or minor characters. They run the gambit of David Cage’s greatest hits: “Scary Black Man”, the “Black Gentle Giant”, and the “Black Sidekick” who aids and furthers the narrative of his white or acceptably Black friends. Become Human also expands to respectability politics, colorism, and violence taken to new heights.

Stop_racism.png? I don’t think that’s in my programming, Carl...

Like I mentioned before, Jesse William’s Markus drives the entire narrative of Become Human. Outside of the inciting incident (the rogue android threatening to kill the child that looks a lot like Alice), nothing officially progresses until Markus becomes sentient. He is the hero of the story. As the only android taking proactive steps to rebel against the farcical android racism and slavery, the narrative dictates which decisions Markus makes are inherently “positive” and “negative”. It’s within Markus’ narrative that David Cage demonstrates that he’s just like every other white person when they observe Black communities dealing with police brutality and dehumanization.

While Become Human uses Minka Kelly’s North to badger Markus to rebel against humans with violence, even when you reject her ideas, the narrative doesn’t approach her point of view with anything other condemnation. Retaliation is never treated like it’s just as valid as pacifism (to say nothing of how they actually portray that retaliation as just mindless violence, which misunderstands the context how a city ends up catching fire).

If you agree with her and decide to avenge fallen androids, and protect the ones that are alive from immediate danger using retaliation tactics (or violence), the narrative condemns you for doing so. Markus’ punishment for not “turning the cheek” is typically death at the hands of Connor, a white character whose narrative seems to have more end-state possibilities than probably even Kara. Become Human prioritizes “peaceful protests”, but in a manner that feels lined with disingenuous intent. Quite literally not acting against your aggressors in any way is the right (and only) way to do things.

We’ve reached maximum levels of representation in media, fam

To compound the utter rot of the allegory, Jesse Williams’ Markus removes his skin (in his words “one planet, two races” lmao) and regardless of the tone you choose (”peaceful” or “determined” for example), the player is prompted with a number dialog options that include “end slavery”, “equal rights”, and a whole bunch of other things are an explicit tie in to Black History. And, unfortunately for Markus, these kinds of prompts, which includes protesting Androids singing to win the favor of humanity, continue to pop up in his dialog tree like pesky blackheads.

The constant reminders that “violence is not the answer” invokes non-Black voices saying “if you weren’t violent, you wouldn’t have been attacked by the police”. The narrative’s attitude is verbatim the kind of inanity I see posited online by spectators with no grasp on situations where Black Americans experienced violence. It even comes up in discussions about Black rebellions during the enslavement era. That’s Become Human’s narrative in a nutshell.

Jesse Williams’ position as the figurehead character in the narrative juxtaposed darker skinned characters, which all play support roles, is a continuation of the media’s reinforcement of the kind of Black character or person that is acceptable for mainstream media. He’s Black enough that he can represent Cage’s borked narrative, but “ambiguously brown” enough that he won’t raise heckles.

Weird how this game don’t let you romance folk you WANT to be around...

Most of the Black characters in the game are androids, most of them have dark skin, and most them amount to background dressing. They’re about on the same level as Kadeem Hardison’s character in Beyond: Two Souls. They act and sound like everyday people, but they’re still representatives of Cage’s awful narrative. For instance, there’s a linebacker of a Black android named Luther and he is the embodiment of the kind of Black man David Cage is clearly terrified of.

Originally, he was an introduction to Cage’s game during E3 2016-2017 even as some Negro spiritual singer. In the game, he’s nothing much other than a supporting character in Kara’s narrative that can die or be blocked from the continuation of the narrative pretty easily (unlike Hank, who is rather glued to your behind up until a certain point).

Instead of being some cartoonish violent thug (see: Heavy Rain), his whole directive in the narrative is to protect Kara and Alice, and not much else. He has no arc of his own and is practically itching to die for them. Characters shrink away from him in fear whenever they see him because of his size, and the entire level wherein Alice and Kara are threatened by the mad creator, uses Luther like a sentinel with the intent to harm the white characters.

Cage’s visual use of the “[Gentle] Black Giant” as a means of highlighting Kara and Alice’s literal white fragility is as bad embodies literally everything I hate about how white people regard and treat Black masculinity in their media.

I appreciate these character models. Rescue them from Cage’s asset files

There are three Black women in the game with speaking lines. Two androids, one human woman. All of them are helpers for white characters or Markus, regardless of their moral alignment. The overarching villain of the game is unquestionably is Black android named Amanda (at least I think she’s an android). She’s a facsimile of the teacher who taught Kamski, creator of the androids, what he knows. She more or less plays the “guide” to Connor (in the sense that her advice is identified in the wrong) and pretends that she wants to see an end to the rebelling androids before CyberLife loses any more credibility with the public (who are scratching their heads over machines declaring “I am alive”).

The human is a Harriet Tubman analog (Rose), who embodies the downtrodden Black mother raising the difficult Black son (Adam) whose father is absent (he died). Adam doesn’t want any part of saving androids, Rose seems to think she’s beholden to help them. From a visual stand point, Rose is probably the best looking fat character model I’ve ever seen in a game. Within the narrative, she exists for little else than to fortify the “Android Slavery = Black American Enslavement” allegory hill that Cage wants to die on. She tries to help Kara, Alice, and Luther to get across the border to Canada not once, but twice.

The last is a damaged android named Lucy. She exists solely so she can tell Markus “your choices have consequences” in a scene makes her look physic when she holds his hand. It was just like the ostentatious declaration from the menu-screen girl (Chloe), “Remember, this isn’t just a story. This is our future”.  And even you know androids share information through physical contact, it’s clear that Cage modeled her as the wise mystical Black woman because reasons. And the role repeats itself when she confronts Connor about being “lost” and then dies in Markus arms saying “save our people Markus”.

This scene was hard to watch, honestly...

Whenever Cage wants to demonstrate the “inhumane treatment” of androids, by in large Black androids are the biggest examples. Luther has his memory wiped by the mad creator who Frankenstiens androids together and is effectively a mindless slave until he sees Alice. One android (pictured above) is tortured (cigarette burns put out on his arm and the like) to the point of a going rogue and ends up murdering his owner. 

To add insult to injury, the player (as Connor) is given no choice but to increase the Black android’s stress level to get him to confess (like how policemen pressure Black prisoners into acting against their self-preservation). This later drives the android to shoot himself (and maybe Connor if you tell him to stop trying to commit suicide) in the head. When Connor attempts to grill three identical Black androids for information about Markus’ whereabouts, he goes full cop on them and tortures them. He ends up getting his guts ripped out immediately afterward (but if you succeed in fixing him, he gets to shoot the android dead with extreme prejudice.)

Lucy, the android that helps Markus, was tortured and disfigured: Her head torn open, wires hanging out, and false skin unstable. Markus himself is actively punished by the narrative for being anything other than “peaceful” and “non-violent”, to say nothing of the physical violence that’s visited upon him from the jump (being kicked around and being shot, then torn apart).

David Cage’s exhibitionism with his Black characters works well enough that it gets a rise out of you, but it’s the same old exploitation of Black pain for entertainment purposes. It more or less demonstrates why white authors writing allegorical tales of fantasic racism, usually end up perpetuating it. Markus is David Cage’s cipher for tackling a story about racism, acting out racism, all without actually dealing with racism in a legitimate manner. (I’m of the opinion that, if you’re white, you don’t have the ability to anyway.)

I can’t imagine what this game would’ve been like without the mess, lmao

Markus bears the burden of pretty much everything that’s wrong with this damn game with regard to how it uses allegory to build its fantasy oppression. As the catalyst, he’s not only the respectable Black character (fair-skinned, “non-violent”, “well spoken”), he’s also represents the whole of the slavery allegory through his relationship with Carl. Carl’s character so obviously represents “the good slave master” (masquerading as the “father figure”) that not only educates Markus on self-realization, but demonstrates to Markus that “not all humans” (read: white people) “are bad”.

I’d argue that if you exercised the racism allegory and Markus from the game, you might actually have, not a good game, but a game about two white androids on two ends of Cage’s undercooked attempt to wax poetic about sentient robots. But, the other Black characters like Luther, Josh, and Lucy exist, and also shoulder the burden of the writer’s ignorance, so there would be no point.

Bad Allegory is Bad Allegory;

It’s a pretty looking game, with some nice moments. Not much else...

Anti-Black racism is not something (most) non-Black audiences can reasonably identify as negative for the community it happens to. When it occurs, spectators view it through the media as something that was brought on by the victim – and otherwise rightfully earned. Speaking of your experiences with anti-Blackness makes them feel doubly comfortable to say “well, I’ve never seen that happen” and insinuate that you’re lying about your traumas or microaggressions experienced.

Through the lens of speculative fiction (chiefly science fiction), the utilization of anti-Blackness as a foundation for any imaginary oppression conjured by the author, once completely removed from the Black experience, becomes a digestible and even sympathetic narrative. A commodification if you will.

There’s no talk of “both sides are wrong” and “well, they brought it on themselves”. Fictionalized marginalization often creates a white creator’s ideal victim, one their hearts can bleed for and live vicariously through, because the victims aren’t just Black, they’re also white.

Allegorical racism often ends up creating equations that consciously or unconsciously say that Black people are violent or dangerous in some way, and the fear of Black people is justified. It perpetuates the myth of the Black superhuman. The biggest example of this? Stan Lee and Jack Kirby’s X-Men unthinkingly equates discrimination of superhumans with incredibly deadly powers to the discrimination of Black people. That narrative allows a certain justification to hating mutants because some have abilities that can outright kill people who enter their breathing space, something Black folks, who are discriminated against without quarter or reason, can’t do.

Quantic Dream’s Detroit: Become Human shares all the same problems of every other speculative fiction narrative that uses allegorical racism as a backdrop. While something like Netflix‘s Bright lambasted by common sense, the gaming landscape has yet to develop strong enough set of tools that prevents games like this and Bioshock Infinite from being hailed as “daring masterpieces” for failing to properly handle the subject of race-by-another-name.

To further illustrate the brokenness of his tone deaf narrative, David Cage wants to be able to say “his game isn’t about racism” (or sexism) at the same time he admits to saying the current racial tensions in America definitely influenced him during the development of Become Human. You can’t have it both ways, nigga, pick a lane.

Detroit: Become Human is the neighbor of Bioshock Infinite. But where the latter is naked about its prejudices, Become Human takes the Crash approach (and we know how most people reacted to Crash before the honeymoon period ended). Racism is rarely handled in video games. So, the bar is so low, that merely daring to use the imagery of violence toward Black bodies, but not in any way that doesn’t make a caricature of the history, stirs something in the unaffected. I expect, like Infinite, half of a decade will need to pass before the feedback-loop from dualshock ends and think critical essays start popping up (I won’t hold my breath tho). There are people calling a duck a duck, but they’re largely ignored.

I could literally recommend anything else that handles the issue of sentient machines better than Become Human without the hamfisted racism allegory. The Terminator 2, Ghost in the Shell, The Big O, Outlaw Star, Alex Garland’s Ex-Machina, or even Alex Proyas’ loose adaptation of Isaac Asimov’s I, Robot.

If you wanted to see how androids and the advancement of technology play into the role of capitalism damaging the quality of life, Dontnod Entertainment’s Remember Me handles the subject better than Quantic Dream does by miles. Frictional Game’s survival-horror game Soma deals with the cloning of a human mind and how that mind handles being “just a copy” inserted into a machine or a machine like body.

Jesse Williams living the dream as Markus Luther King Android Jr.

Become Human’s story of “oppressed androids” doesn’t work from the offset. There’s little demonstration of androids demanding their freedom and equal rights up until Markus decides, “um, yeah, we should do that, guys” and androids go homicidal on their owners around the same  time. Everything is second hand accounts. There are no human antagonists that inform this fantasy racism that aren’t the equivalent of cartoonish high school bullies shoving people in lockers, or just poor representation of the counterargument from the get go. Android rebellion is practically framed like everyday appliances on the glitch to the disbelief of their owners, who end up traumatized or murdered.

Cage compounds that issue even further by writing that a virus (stemming from a copy error) gives them sentience, but that simply makes them look like machines that are malfunctioning because they need a better anti-virus program. I keep seeing people use this comparison, but an android passing on a virus that “wakes” them up, is not remotely comparable to a Black mind being stuck in the Sunken Place until someone (or they) pulls them out as depicted in Jordan Peele’s Get Out.

When talking to actual people, it’s obvious that they don't like being discriminated against. That’s not remotely the same case with Androids infected with a dormant malicious error and deciding they’re not free. It implies the enslaved were fine with slavery until they just wake up one day thought otherwise.

Also, you don’t get to frame your characters as victims when they’re literally spouting rhetoric like, “Androids are superior to humans in every way, yet we’re slaves?”

I wanted to like Detroit: Become Human like I wanted to like Beyond: Two Souls. There’s a lot to like about the concept (minus the allegory) that the game is built on, if not purely for how the primary cast interacts with their own group (sometimes).

But, for lack of a better word, the game is insensitive with its comfortable comparison of non-human characters to people of color (chiefly Black people) and marginalized identities, who still suffer from everything the game fails to tackle respectfully. Half of science fiction is built on the bones of wrong-headed allegory and misrepresentation of social issues, so its celebration isn’t surprising, just frustrating.

Detroit: Become Human is a constant reminder that David Cage thrives off the pain of the marginalized and can’t be arsed to do any introspection about that. It feels like I just got thrust back into 2013 all over again.

Allegorical racism needs to die.

[hellyeahheroes]

Cleansing the Crimes of Old Krypton: Comparisons Between Superman #1-6 and Supergirl #1-6

Ever since the rise of the comic-book anti-heroes, Superman and his family were positioned by writers in the opposition to them. This is a natural progression for those who understand the character’s roots as the hero of the little folk. Such qualities are resonating with the liberal and socialist ideals. Meanwhile, antiheroes often voice ideas that would be very terrifying if said by real-life politicians. The efficiency being presented as more important than human rights or collateral damage. The idea that the justice system only stops the protagonist from doing what’s necessary. An approach where stopping the bad guys is more important than protecting the innocent. These ideas can easily be applied to politics. And as a result, lead to authoritarian or outright fascist thinking. Don’t get me wrong. Some people claim if Batman won’t kill the Joker, he has the blood of Joker’s future victims on his hands. I’m not saying they’re cheering Donald Trump saying federal judges who overruled his ban on Muslim Immigrants are to blame if a terrorist attack happens. But we need to recognize the parallels.

Many successful antihero stories were built on exploring the consequences of this approach. You can find those themes everywhere from The Authority and V for Vendetta to Code Geass. Sadly, lately, we have a continuous increase of those problems being glossed over. And not only for actual antiheroes but even more upstanding characters. Especially in movies. Once paragons of virtue on big screen become terrifying. And yet we're supposed to cheer when they commit atrocities. Violating borders of a foreign country, intruding on people’s privacy, destroying an entire city in battle, murdering people. It all becomes not only justified but even glorified. They say it’s okay for “good guys” to do those things. Because otherwise, we’re all going to die. Because they’ll stop once the danger is gone, pinky swear. Because only the bad guys get hurt and killed. So relax and handle all the power and no accountability to those guys, they need it to protect you.

Superman stories often tackled this issue. Sometimes results is a compelling, meaningful voice in the discussion. Other times we get an awful, hypocritical story. That is given praise regardless because it sticks it up to the other side. “What’s So Funny About Truth, Justice And American Way” and it’s adaptation “Superman vs the Elite” are a prime example. There Superman proves wrong the Authority knockoffs who claim that might makes right. By beating the living shit out of them, thus proving that might do indeed makes right…. if you’re Superman. Thankfully, two stories I want to talk about do not have this problem.

For inspirations, both stories reach back. To a tale of 4 individuals that tried to replace Superman after his supposed death - Reign of Supermen. Superman books under Rebirth banner, in general, try to recreate the feel of that era. Superman is dead and his replacements start showing up. Kenan Kong in the New Super-Man, Lana Lang in Superwoman, even Lex Luthor dons the cape. But DC managed to have their cake and eat it too. The main Superman book still has it's Man of Steel. It's Superman from another Universe, with wife and son. He is more in line with old DC Continuity, compared to Superman that died. Meanwhile, Supergirl reaches to feel more like beloved TV Series, even if Kara is still a teenager. To connect with Reign of Supermen both books use a different way. They reach for its “bad” Supermen - Eradicator and Cyborg Superman. They also revamp them to have them fit a specific purpose.

Or use earlier revamps, as is the case with Cyborg Superman. Before Flashpoint this name was held by Hank Henshaw, a scientist with a grudge. In New 52 he is the man who had sent Kara to Earth from Argo, last surviving city of Krypton. Her father, Zor-El. He failed to save the whole colony and is desperate to undo past failures. He turns dead corpses of his citizens and even wife into cyborgs like him. But to regain sentience the need to consume life force of intelligent beings. Then Zor-El hears Kara cry in her moment of doubt. She question she’ll even be able to fit on Earth and how strange and, well, alien, our customs are for her. Her father doesn’t hesitate. He decides to invade Earth, harvest humanity to resurrect Argo and take his daughter back.

Eradicator was absent from New 52 era of DC, to resurface in Rebirth, with a simplified origin. Before Flashpoint it was an alien A.I. obsessed over Krypton. In Rebirth Eradicators were created by General Zod. It was a mechanical police force used against both criminals and political rivals. This one came back to life through contact with the blood of Superman’s son, Jonathan. And then vowed to protect and restore Krypton’s legacy. Starting with the last heir of House of El, Superman himself. Clark is reluctant to trust the robot when it offers to examine Jon’s health and fluctuating powers. Turns out it was a good call. Eradicator decides that being half-human half-Kryptonian, Jon is impure. And that the best way to heal him is to eradicate human part of his DNA. Jon would become fully Kryptonian, but also cease to exist as a person he was up to this point.

Both those villains have a history of representing darker shades of Krypton. In old continuity, Eradicator was a go-to explanation for every Krypton-related bad thing. Villainous interpretation of Zor-El is nothing new either. Before Flashpoint his whole motivation was "He hates his brother, Jor-El". He didn't send Kara away to save her, but to make her kill Kal-El. He had brainwashed his own daughter to make her a weapon against her cousin.

If anything, this version of him comes off as, if not sympathetic, then at least pitiable. Flashbacks show us he was a caring, loving father, who sent Kara away to protect her. It makes it much more tragic to see how far he has fallen. Even Kara starts to feel bad for him over the course of the story. She recognizes in him a man haunted by his failures, whose actions are a desperate try to fix everything. But Supergirl still calls him out. She points out that he doesn't care about anything but himself anymore. If he did, he’d see how twisted his “solution” actually is and try to find a better one. The results were more important than how he achieved them. And things like mass murder became merely means to an end. It doesn't matter how many he has to kill. It doesn't matter he turned his wife and friends into mechanical monsters. Once he gets them back, everything will be back to normal, he tells himself. He expects his wife and daughter to go back to their old life and ignore all the blood on his hands. He is delusional. When his wife regains part of her mind, she sacrifices herself to save Kara's adoptive mother. She'd rather be dead than part of this. Does it get to him? No. because for Zor-El it doesn't matter how appalling his methods are. Only that he wins.

Both Zor-El and Eradicator are operating on racist and xenophobic assumptions. They see everyone who is not Kryptonian as inferior and disposable. The whole idea of a Kryptonian living with human family is appalling to them. Zor-El several times states he never meant for Kara to stay on Earth forever. He expects her to simply abandon her new home, now that it served its purpose. He also mentions in passing wars betweenKrypton and other races. It's implied they were as horrible as what he is doing now. Meanwhile, what is Eradicator? A Kryptonian version of police brutality and law-enforcement being used for political reasons. All these factors make the reader ask a question neither of the villains bothered with. Should you bring old Krypton back? If Kryptonians were warmongering xenophobes, then why should they return? Who is to say if they do, they won’t go down the same path again? Neither Eradicator nor Zor-El makes a strong case against this argument. Not when they’re willing to stomp into the ground anyone who stands in their way.

We live in times when people in power tell us we need to give up parts of our freedoms for our own protection. That we need to do whatever it takes, no matter how unethical, to protect our way of life from “the enemy”. Even if it means crushing rights of those different from us. This is no different from many anti-heroes in comics. How often do we see one accusing more restrained superheroes of not having what it takes to “get the job done”? Or claim not only are they too weak, but people they protect are dumb masses easy to sway and control? Those themes are still being explored by creators of both books. Peter Tomasi and Patrick Gleason do it through later Superman villain, the Prophecy. Lord Havok and the Extremists serve this role in Steve Orlando’s JLA. But it isn’t enough to have heroes beat this type of villains. What is even more important is how they beat them. As I mentioned above, in that kind of stories it’s easy to come off as a hypocrite, if you play your hand wrong.

Luckily, even on that ground, the stories are on point. Neither Superman nor Supergirl can defeat their enemies alone. It is the strength of family, friends, and allies that allow them to overcome this threat. As Kara says, she isn’t on Earth to inspire humans – they inspire each other. Threat Eradicator and Zor-El present cannot be defeated by an individual. It needs the united effort of everyone it threatens. Even average people like Cat Grant or Bibbo Bibbowski have their part to play. It’s love, family, and unity that save the day.

And in true classic fashion, they are both shown mercy. While Eradicator’s physical form is destroyed, Superman’s very aware that’s not enough to kill him. Meanwhile, Cyborg Superman ends immobilized and imprisoned. The story ends with Kara hoping to find a way to save her father. If you follow solicits you know they’ll both be back in May’s Action Comics. Some might complain about the never-ending nature of superhero comics. How no victory is ever meaningful because the villain will come back. It’s one of the major problems raised by supporters of the antiheroes. But looking at those villains a metaphor for fascist tendencies, it works. Fascism can be beaten, but it cannot be killed. It will always find a way to creep back under a different name. The weakness of anti-hero stories lies in them giving the reader a fake sense of finality. They tell us we have to do whatever it takes, even if it’s immoral and unethical, to win against the evil. That once we beat it, it’s gone and we can go back to normal. But that’s not true. Evil is forever and it will keep coming at you in new forms. We can see it in today’s world as well. Not so long ago many folks would say fascism died when WWII was over. Allies victory over this evil was final and definite. The questionable choices made by them like bombing civilian cities, were justified because fascism is now dead. Once put down it will never rise to power again. And then Richard Spencer and Steve Bannon started making the news…..

The purpose of this text is not to bash on fans of the antihero characters. But when working with them it's important to show their questionable aspects. Otherwise, they can become propaganda tools for the worst kind of people.