Mother, May I See Metroid: Other M
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The Higgs Boson
In any case, Anthony then starts wondering aloud what would happen if something like that happened on the BOTTLE SHIP. Oh yeah; Other M is the master of subtlety. Anthony decides not to talk about it further and wanders off. Hey, wouldn't it be a good idea to stick close to Samus, since there's that traitor out there? No? How about because you lost track of the unit and she's the only one with a working communicator? No? Well, do you at least want to send Adam a message, while Samus is here? No? OK. Samus monologues that if it happened again, she'd "hold fast to that glimmer of hope and try for redemption." I get what she's getting at here, but this is a horrible way of saying it. And what does she need "redemption" for anyway? It was Adam who told her not to go. After this is a boss fight against the lava monster that jumped Samus the first time she got to the Pyrosphere. I'm guessing that this is in Theater Mode, despite TM already skipping several boss fights, because it provides some space between the previous scene and the next scene. And quite frankly, anything that keeps the next scene farther away can only be a good thing.
Saving Private Malkovich
...I was childish.Well, I could move on, but that would be moving us into... that. So to hold that off even further and retain some semblance of sanity, let's revisit the Ian cutscene. I will say this in the scene's defense (in addition to what I said about Samus's acting). It delivers exposition quite efficiently for the most part. It lets us know that Ian is in the "drive unit" doing something, and it tells us that there are lives at stake. And it all takes about 20 seconds. We get the logistics of the scene out of the way quickly so that the meat (such that it is) can be had. So good writing on that score. One problem I have is how contrived the situation is made, all so that Samus can look as bad as possible. Look at the physics of the scenario. We see the assemblage of ships, like a train: the towing ship, the ship being towed with energy beams, and the drive unit at the rear. In all likelihood, this command center is on the ship doing the towing; it wouldn't make sense for this command center to be on the ship being towed. Ian has at least a full ship between himself and Samus. Yet Samus believes that she can exit their ship, float across the space between, enter the drive unit, pull Ian out, and float to at least minimum safe distance in the ~1 minute it takes to explode. That's not going to happen; not even for Samus. So why does she say that she can do it? Because it makes her look, as she says of her younger self, "childish." Which is exactly what the writers of this scene want us to think; that's why this scene exists: to show that Samus is a child, and Adam is the mature, responsible parental figure. Normally, when a scene like this happens in fiction, there's some idea that the person might have been saved, that there was a chance. But it was too great a risk, so they didn't. In the typical case, the audience is free to judge the commander's decision for themselves. It's something to talk about: was he right, was he wrong? Both the characters and the audience can judge for themselves. Most important of all, we can sympathize with the character wanting to do the saving. Maybe they could have gotten them out in time. That's not the case here; there was no way to save him, period. The audience can't relate to her position; it was a clearly hopeless situation. This scene is focused on how incapable Samus is, how "childish" she is. That she couldn't even recognize a hopeless situation when she saw it. The circumstances of this situation are designed so that there is no other possible interpretation. "Adam was right," just as Samus said. Because God forbid that Adam could be wrong about anything. And note how she fixates on Adam's feelings, that all she did was "question his authority and make things more difficult." She denies her own feelings, her own relationship with Ian; she only looks back from Adam's perspective. We get a shot of a picture with her hanging out with Ian (while Adam lurks in the background, completely uncaring), so obviously there was some kind of relationship there. Samus doesn't care about the person she lost. She doesn't care about her own feelings of powerlessness as she watched a friend die. All she cares about are Adam's feelings. Samus Aran has no life outside of Adam Malkovich. Her entire world centers around the man; everything she does or thinks about is for him. That's what this story is saying. I'm not saying that she shouldn't think about how her behavior affected him. But the way she berates herself solely because of the way it affected him is disgusting. Then, we come to Adam. His behavior is... well, to be expected at this point, quite frankly. Some of it is at any rate. The way he ignores Samus fits in just fine with what we've seen considering his dickishness thus far. He thinks of her behavior here as a child acting up and treats her accordingly. He does what adults often do when talking with other adults while their children beg for attention: ignore them. This isn't unfortunate implications brought on by bad writing anymore; that ship has sailed. This is the real character, as evidenced by the consistent pattern. This is who Adam Malkovich is in Other M. He treats Samus like an abusive father would. Disapproving looks to cow her into obedience, ignoring her when she dares to voice her opinion, sending her through a lava pit to remind her who's the top in this relationship. Whether the writers consciously wrote him this way, or if this was simply their unconscious impulses peeking through; that's all irrelevant. What matters is that the character is consistently written this way within the work. And no, being in the military doesn't cover it. Outside of some of the personal nature of the request, Samus is doing everything militarily correct, more or less. She's requesting permission from her commanding officer to enter a hazardous area to rescue someone. The proper military response to do would be for Adam to deny the request; if she kept up with it, then she'd be out of line. But he doesn't; he doesn't even acknowledge her request. He simply ignores her like she's a child. Because again, that's what this scene is about: showing Samus to be childish, while Adam's the big, strong father figure. That's what the writers want you to believe, so the circumstances are designed to make it so that this is the only viable interpretation of this scene. Also, let's not forget the lack of emotion from Adam. The closest thing to a feeling that Adam showed about his brother's impending death was Adam taking a moment to decide what to do. That's it. It could have been for anyone; indeed, until Samus says that Ian is Adam's brother, the audience doesn't know it's for a brother. Shouldn't there have been some clue or indication from Adam's reaction? I'm not asking for Adam to break down crying or anything. But some sign, other than standing around for a bit, that he has a difficult decision to make would make for a more functional character. A shot of a clenched fist might be cliché, but at least it's something and not nothing. At this point, Adam sounds a bit sociopathic: unconcerned with his brother's demise and unconcerned with Samus's pleas to save him. There's one final thing that should be considered: what Samus said at the end. I'll quote this in full, so you can't say I'm taking it out of context, "If something like that happened again, I would hold fast to that glimmer of hope and try for redemption. That's who I am." In short, given it to do over again, she'd do the same thing. That's great, right? She's choosing her own principles rather than just doing what Adam says. Right? Shows independence and everything. Scroll up and read the title quote for this section again. "I was childish."Samus herself believes that this is a childish view; she says it not two minutes before giving the above statement. So she thinks that it's childish... but she'd do it again. "That's who I am": "Childish" - Samus Aran -_-
... Fucking wow. How did I not put that together? She got derailed harder than I thought. *facepalm*
Oh God. I never thought about how Adam showed no emotions towards Ian's death. That's... That's scary. They didn't just derail Samus' character with this game, they derailed Adam's too. Samus' "You're nothing like the real Adam Malkovitch" scene in Fusion makes no sense if this is the real Adam Malkovich.
The other major problem with the Ian scene is that we have no idea who this guy is and why we should care, much like Metroid newbies would have no idea who Ridley is and why they should care. I mean, okay, he's Adam's brother, but... so? We don't know anything about his personality or why Samus is so freaked out about him dying (beyond, perhaps, that he is Adam's Brother and thus of importance to Adam oh god Other M I hate you). He's just as faceless as the Federation redshirts on the BOTTLE SHIP.
beyond, perhaps, that he is Adam's Brother and thus of importance to Adam oh god Other M I hate youAnd thus you have realized the point. The absence of information about Ian is because we aren't supposed to care about him as a person. He is simply "Adam's Brother" and nothing more than that. Because why should we care about a character as a person? I mean, that might get in the way of the Adam fellatio. And that would be horrible.
“Yeah, yeah, but your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should.” -Ian Malcolm; Jurassic Park There are so many things wrong with this scene that one BIG thing has been overshadowed. I only realized it after re-watching this scene. I'm talking about Samus' request to go after Ian. Her request makes no sense! I mean, think about it. Let's say that Adam allowed Samus to go after Ian. Let's say Samus reached Ian before the ship exploded. Then what? Was she going to tap his shoulder and say “Let's go”? Was she going to take him by the hand out of the ship? Was she going to sling him over her shoulder and carry him out? What would her running to Ian accomplish, except have two people in danger instead of one? She would have to put herself in peril and then leave with Ian, whereas Ian can just leave on his own without Samus. You see, we've been so busy wondering if Samus could actually do it that we didn't wonder if she even had to do it. I think that's why Adam doesn't respond to her plea; it's so stupid it doesn't even deserve a response. Why is it made to seem she has to go over there? Ian's in a tight spot, but he doesn't need rescuing, he just need's to leave. Samus shouldn't be in this equation. It's between Adam and Ian. Here's what should have happened: Adam should have said to Ian “Get out of there!”. It's established they were in radio communication. Ian starts running, but Adam realizes he's not going to make it in time, and orders the drive section separated. Then Samus could chime in “Wait Adam! -Ian- can make it! Just give -him- a chance! You have to trust -him-!”. This scenario now focus' on Ian's ability and Adam's decision. Of course in this case, the scene is not about Samus. So here's another thing that could/should have happened: Ian starts his routine thing, but then a malfunction in the drive reactor causes an explosion in his room that (A) disrupts the lock function on the door, trapping him inside, (B) sends him flying back and knocking him out, or (C ) causes steel columns and debris to fall on him, trapping him and/or knocking him out. NOW Ian needs rescuing and Samus' request makes sense. She has a reason to go over there. But the way the scenario is constructed, it makes Samus' request not only (like you said) impossible, but also completely pointless.
Headcannon: Setting aside Samus centering her feelings around her abuser's perspective (which is a thing that actually happens)—judging from the photo and the fact that Samus flips the fuck out when Ian's about to die, she seems to care an awful lot about Ian. Adam doesn't seem to share the concern. It always stuck me as just one more was for him to abuse Samus—doubly so considering that in actual reality, abusers isolate their victims, keeping them both from support, and keeping anything from dividing their attention so their entire focus is forced to be on them (the abuser).
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