Mandalore has since made a link to photos of each of the comic book pages. It’s quite good in my opinion. According to someone who worked on the game, who left a comment under Mandalore’s video, the Warhammeresque armors were pushed by the publisher for the usual reason (“we want their demographic”), while in the comic book literally everything humanity uses is organic: clothes, armor, weapons, buildings, ships… everything, which is way cooler than what we got to see in the game, unfortunately. Also the protagonist has some personal reasons to not like the church (and thus their leader, who is the bad guy inquisitor in this game), so it does make sense in hindsight why he wouldn’t want to work with him, but it wasn’t well portrayed in the game. Oh, yeah, also Infinity and Iconah (MC) are a couple in the comic book but he initially doesn’t know she’s the head of the Judges, though she has enough money to buy and gift him a planet for his birthday. He also has an adoptive daughter.
Seeing the game kind of go for the Warhammer 40k aesthetic but not fully commit to it is a little sad. I love it when post-human settings show what kind of monsters people turn themselves into. A prime example of this is in the first Horus Heresy rulebook (which was also its first campaign book): in the first act of war of the Horus Heresy, there is a Mechanicus character named Calleb Decima who was betrayed and targeted for death, but in the ensuing battle even though his organic components are badly damaged and failing, he just won't die. A mechanical part of his brain quite literally breaks and he gets stuck in a feedback loop of hatred and disgust towards those betraying him that he refuses to give up on the ensuing battle, no matter how hopeless it is, and his mechanical parts keep him alive well beyond what any human should be able to sustain. Near the end of the battle he resembles a crushed spider who skitters about on broken metal limbs. Amazingly he survives both the fight and ensuing orbital bombardment, and when he comes across a Marine who also survived (just barely), he hauls the Marine off and stabilizes him by turning him into a cyborg monstrosity. That's the kind of thing I like to see in these settings, and judging from the other comment, that's the direction the comic went with. I'd love to see this universe make a comeback with a more competent team since it looks like it's so close to being great.
Also since Mandalore mentioned it and I commented on it, Farscape (for anyone who doesn't know) is like a sci-fi isekai setting: a modern man gets shunted elsewhere in the universe and now has to adapt to a universe and technology he is not familiar with in the slightest. Like Genesis Rising, the ships in Farscape are actually alive, and new ships are created when the old ones give birth (there's also odd crossbreeding that can happen, for example if a cargo ship mates with a warship). The ships are also able to speak to their pilots, who are physically merged with them, so that whole element is probably part of what Mandalore was referencing. The other part he references, and what I commented on, is the complete tonal shifts between goofy and dead serious. The main character of Farscape starts the series as a pacifist, but unfortunately the universe seems to have a personal vendetta against him. The vast majority of episodes are watching him and his friends work their way out of a bad situation they were put in, often for no reason at all, and at a point one of the characters even asks "why does nothing we do work?" They don't even seek out conflict, the first part of the show is about the characters trying to find somewhere they can live peacefully, and that never happens. Eventually one of the villains does such horrific stuff to the main character (he was after knowledge that a different group of aliens gave him) that he begins to go insane, and he retreats into fantasies as a trauma response. These are often goofy, and stuff like the expanding-boob lady would be right at home in Farscape. It didn't always fully balance its conflicting tones, but it was a very unique piece of sci-fi programming. As I mentioned on stream, the show ends with the main character, who started off as a pacifist, murdering millions of people in order to make a point. How exactly he does it (using something called a "wormhole weapon") and the events directly leading to that moment have always stuck with me, so better or worse, it made an impression.
Mandalore has since made a link to photos of each of the comic book pages. It’s quite good in my opinion. According to someone who worked on the game, who left a comment under Mandalore’s video, the Warhammeresque armors were pushed by the publisher for the usual reason (“we want their demographic”), while in the comic book literally everything humanity uses is organic: clothes, armor, weapons, buildings, ships… everything, which is way cooler than what we got to see in the game, unfortunately. Also the protagonist has some personal reasons to not like the church (and thus their leader, who is the bad guy inquisitor in this game), so it does make sense in hindsight why he wouldn’t want to work with him, but it wasn’t well portrayed in the game.
Oh, yeah, also Infinity and Iconah (MC) are a couple in the comic book but he initially doesn’t know she’s the head of the Judges, though she has enough money to buy and gift him a planet for his birthday. He also has an adoptive daughter.
Seeing the game kind of go for the Warhammer 40k aesthetic but not fully commit to it is a little sad. I love it when post-human settings show what kind of monsters people turn themselves into. A prime example of this is in the first Horus Heresy rulebook (which was also its first campaign book): in the first act of war of the Horus Heresy, there is a Mechanicus character named Calleb Decima who was betrayed and targeted for death, but in the ensuing battle even though his organic components are badly damaged and failing, he just won't die. A mechanical part of his brain quite literally breaks and he gets stuck in a feedback loop of hatred and disgust towards those betraying him that he refuses to give up on the ensuing battle, no matter how hopeless it is, and his mechanical parts keep him alive well beyond what any human should be able to sustain. Near the end of the battle he resembles a crushed spider who skitters about on broken metal limbs.
Amazingly he survives both the fight and ensuing orbital bombardment, and when he comes across a Marine who also survived (just barely), he hauls the Marine off and stabilizes him by turning him into a cyborg monstrosity.
That's the kind of thing I like to see in these settings, and judging from the other comment, that's the direction the comic went with. I'd love to see this universe make a comeback with a more competent team since it looks like it's so close to being great.
Also since Mandalore mentioned it and I commented on it, Farscape (for anyone who doesn't know) is like a sci-fi isekai setting: a modern man gets shunted elsewhere in the universe and now has to adapt to a universe and technology he is not familiar with in the slightest. Like Genesis Rising, the ships in Farscape are actually alive, and new ships are created when the old ones give birth (there's also odd crossbreeding that can happen, for example if a cargo ship mates with a warship). The ships are also able to speak to their pilots, who are physically merged with them, so that whole element is probably part of what Mandalore was referencing.
The other part he references, and what I commented on, is the complete tonal shifts between goofy and dead serious.
The main character of Farscape starts the series as a pacifist, but unfortunately the universe seems to have a personal vendetta against him. The vast majority of episodes are watching him and his friends work their way out of a bad situation they were put in, often for no reason at all, and at a point one of the characters even asks "why does nothing we do work?"
They don't even seek out conflict, the first part of the show is about the characters trying to find somewhere they can live peacefully, and that never happens.
Eventually one of the villains does such horrific stuff to the main character (he was after knowledge that a different group of aliens gave him) that he begins to go insane, and he retreats into fantasies as a trauma response. These are often goofy, and stuff like the expanding-boob lady would be right at home in Farscape. It didn't always fully balance its conflicting tones, but it was a very unique piece of sci-fi programming.
As I mentioned on stream, the show ends with the main character, who started off as a pacifist, murdering millions of people in order to make a point. How exactly he does it (using something called a "wormhole weapon") and the events directly leading to that moment have always stuck with me, so better or worse, it made an impression.
Thx so much for reacting to this strange Homeworld, Warhammer, Farscape, Mass Effect hybrid that came out of the Pepsiverse :)