“The Rebel Hare” – A Star Wars Story

Rhen Var Harbour

Local Time – 0500 hrs.

Team – Rebel Alliance

***

The ice beneath me is cold and hard, not at all like the training simulations. I’m prone, trying to make my body as flat as possible, cradling my sniper rifle, looking out over the frozen harbour of Rhen Var.

As I perform last minute checks, my radio comm crackles into life. I shift my weight onto one side and hit the transmit button.

“Hey Alex, you nearly set?”

“Yep, just linking up with a few other fighters and we’ll be entering the caves. Whereabouts are you?”

“On the ice lake, ready to catch a few skinnies accompanying the AT-AT. Once I’m done I’ll make a dash and meet you on the other side.”

“Okay, good luck. Out.”

I switch off the comm link before pressing my shoulder against the butt stock of my rifle and looking through the optics. There is no movement in front of me. I hear a rumble from the heavens as heavy fog starts to develop and roll towards me. It always happens in the early morning, it gives the Empire an edge. Not to worry though.

I zoom in a bit further and immediately a silhouette pops out, darker than the surrounding vapor. I nudge the rifle a little higher to compensate for drop off before squeezing the trigger. It takes around a second for the light beam to travel across the whole ice lake and hit the grunt squarely in the temple, taking him down.

I start to swivel my rifle from side to side, picking out darkened outlines here and there, each one being brought down by at most two shots. I want to try and get as many at this range, before I am in any mortal danger. I move away from the optics to reload and out of the corner of my eye I start to see the first waves of soldiers break out of the mist and into the daylight.

Their all white uniforms make them easily identifiable against the grey background they emerge from. I pick off a few of the forward troops, before scanning for the big hitters; jet pack troopers and rocketeers.

I set my scope on a lovely Dark Trooper, but a giant metal boot obscures my line of sight. I back out of aiming to see what it is.

The AT-AT? Already? How did it sneak up this far without me realising? I’m a sitting duck if I stay here. I jump to my feet, grabbing my rifle and slinging it over my shoulder, before dashing across the harbor towards the walker. The AT-AT has a powerful set of cannons on its front side, but can’t aim straight down. If I get close enough, it won’t be able to focus its weapons on me, making it useless in terms of combat.

As I pelt across the ice and snow, I draw my pistol. Even though I’ve thinned the ranks, the majority of the Empire’s forces are charging across the bay. I serpentine towards the legs of AT-AT, rolling behind one to dodge incoming fire. I peek out and fire off a few non-committal shots, keeping any nearby soldier at arms length. I need to keep moving; staying under the AT-AT isn’t the safest option, even less with Snowtroopers surrounding me.

I roll away from the AT-AT’s back legs and sprint away. The Snowtroopers fire a few shots my way, but I am soon out of range, and they turn back towards the main battle. I make my way up a small snowy mound, switching back to my long-range rifle and do a quick scan of the horizon. There are only a few stragglers entering the party late. I quickly dispatch them, leaving the coast clear.

I throw my sniper onto my back and draw my pistol again, before setting off towards the Imperial command post. As I get close, I see the faint red glow of the capture point, reflected on the cold-grey stone walls of a bombed-out ruin that the Empire have commandeered as their forward base.

I switch from a slight jog to walking; taking pot shots at any late-coming Snowtroopers that gets close. My radio beeps again.

“Alex, how is it going?”

“We’re a bit stuck mate. They’ve got a turret on the entrance to the ice caverns; any time we try and push it cuts us in half. You got a sight on them?”

I stop, equip my rifle and look through the sight. The enemy is easy to spot; they are sat in a revolving turret atop the ruin, firing round after round at the small opening that leads to the caverns.

“Yep, I see ’em, top deck.”

I kneel for support, before tapping the trigger, hitting the Snowtrooper’s exposed head and silencing the turret fire.

“They are down, go!”

I rush forward, catching up with Alex as he exits the caves. We stop just before the stairs leading up to the ruin.

“Any news on the rest of the battle?” I ask. Alex gives me a grimace.

“That AT-AT is destroying all of our carriers. We need to get back pronto.”

I tap the screen on my wrist-bound computer, bringing up the map. I see the AT-AT; it is almost at the entrance to the marina, destroying every speeder that manages to spawn in.

I sigh in exasperation.

“Bloody amateurs,” Alex says. “Let’s capture this post and get back!”

I turn the map off, and check my weapons.

“Well, you’ve got the rapid-fire blaster Alex, after you!”

“The Rebel Hare” Photo Source: battlefront.wikia.com

How Hitman Challenged My Attitude About Violence

I’ve recently been replaying Hitman: Blood Money in an effort to gear up for my eventual play through of Hitman 2016. I hadn’t played a Hitman game in some time, so I took a little while to get a feel for the controls again.

I spent around half an hour learning the recoil and range of the trademark Silverballer pistols, perfecting a few of the timing “hacks” to speed up killing/sneaking animations and just generally remembering placements of guards and patrol routes that I could exploit. Once I had re-calibrated my console controls I jumped into the game proper and went merrily on my way, sticking clowns in wood chippers and feeding circus performers to their pet sharks.

As well as replaying the game for a recap of the series, I had wanted to talk about violence for a third and final time in games. I had already looked at Assassin’s Creed and L.A. Noire, for their displays at violence and I thought Hitman might be a good game to finish the mini-series on. And the idea to write about Hitman hit me on this playthrough.

On this playthrough I had decided to ramp up the difficulty to the highest setting, Professional. I had yet to complete the achievement “5 Professional Silent Assassins” awarded for completing five levels with the “Silent Assassin” rating on the Professional difficulty (kind of self-explantory) and so I aimed to complete the achievement this time around. “Silent Assassin” is the best rating in the game. To fulfill it you have a set of guidelines including things like; not having your cover blown, no witnesses, only killing your targets, and many, many more rules.

I had completed a few levels on Rookie and Normal difficulties and achieved the “Silent Assassin” rating, so I decided to use similar strategies on the higher difficulty setting. I jumped into the mission “A New Life” since I knew the perfect way to achieve “Silent Assassin” and played through the level. And this is the level that inspired this post.

Hitman: Blood Money and the Death of Innocents

The mission “A New Life” has player character Agent 47 heading to sunny California to kill a former Cuban mob boss, Vinny “Slugger” Sinistra, who has “turned” and entered the witness protection program. The hit takes place in Sinistra’s gated community while his house is being monitored and patrolled by at least twenty FBI agents. It is a piece of cake.

Alongside killing Vinnie, 47 must retrieve a piece of microfilm hidden in Mrs. Sinistra’s necklace. However, Mrs. Sinistra counts as an innocent, so if we are to harm her it must be accidental therefore leaving no connection between the crime and us.

The most straightforward and infamous way to do this is to obtain some lighter fluid from the Sinistra’s garden shed and douse the barbeque set and sit back and watch Mrs. Sinistra prepare lunch. After she is burnt to a crisp we can simply walk up to her corpse and retrieve the film.

So I dutifully did my job; blew Vinnie’s brains out and set his spouse on fire. I finished the mission only to realise that I had not achieved “Silent Assassin” instead getting “Professional”, the rank below. So I went back in and took a more methodical, slower approach.

On the second approach I decided to play dress up. One of the more humorous aspects of the Hitman series is that although 47 is a towering bald assassin with a barcode tattoo on the back of his head, he can pretty much throw on any disguise and get away with it. So, as I got back into the Sinistra’s home I stealthily “acquired” the Pool Boy’s uniform and equipped it. The Pool Boy is having an affair with Mrs. Sinistra and after I had donned the outfit the wife told me to follow her upstairs. Since Mrs Sinistra had been day-drinking, she promptly threw up in her bathroom and then fell asleep and leaving me to take the microfilm necklace as she peacefully rested.

Then I proceeded to blow Vinnie’s brains out and complete the mission, earning “Silent Assassin”.

On all my playthroughs of “A New Life”, I had never taken the Pool Boy approach. I had never thought to open up my creative mind and critical thinking and think about how to acquire the necklace differently. I had always gone for the more “fun” barbeque approach. And it started to horrify me at how nonchalantly I had killed someone because it was “fun” and “easy”.

Another mission later on, “You Better Watch Out…”, had a similar sobering affect. One of the targets is in a pool with a glass bottom overhanging a mountain outcrop. If you mange to get below the pool and shoot the floor then the target falls through…along with the five or so party revellers with him. Again, it had been “fun” and “easy”, but after passing by the innocent victims that had fallen through the pool, my brain started to question it.

So let’s think about it…

As mentioned previously, it wasn’t the brutality or the bloodshed that affected me (like it did in L.A. Noire). It was that it look little to no effort on my part…and without much coercion. The game gave me the tools and sat back as I played a violent fantasy.

A similar event happened in Spec Ops: The Line with the infamous white phosphorus scene. In his analysis of the game, Lucas Raycevick states a similar feeling,

“What unnerved to the core me was how casually I did it [used white phosphorous (an outlawed weapon)]. How routine it was to fart a laptop screen and play polka dots with missiles, exterminating white blips that may as well have been zombies.” (17:20).

Another comparable gameplay event, the AC130 gunship level “Death From Above” in Call Of Duty 4: Modern Warfare was critiqued for this similar ease of dispatching of life. Journalist Quintin Smith, talking about the mission on Charlie Brooker’s How Videogames Changed The World, says this,

“It is tremendously disturbing because you can’t make out what these figures are. It could almost be a statement, but it is not. It is just there so you can have fun and that’s very dark.” (1:26:10).

But with the white phosphorous and the AC130 gunship, there isn’t any choice. The lack of alternative gameplay can undermine any statement that might be trying to be addressed, they were forced into that situation with no way out, other than turning off the console (which is an interesting thought but counter-intuitive because…you made the game, so why would you want people to turn it off?). But with Hitman: Blood Money I could have taken many different non-violent routes, but valued the easiest route rather than the less violent.

Conclusion

Thinking of the game as a whole, Hitman: Blood Money has a continual theme of unnecessary violence against innocents. Throughout the game a rival firm is mentioned in the end mission newspapers (the newspapers are how you find your score/how good of an assassin you were). In these margin stories it seems the rival assassins have no care for innocent life and will murder anyone who gets in their way.

Even the first assassination of the game is meant to spark the realisation that murder and assassination is not meant to be nice and “fun”. The first hit, Mr. “Swing King”, is not fully guilty for the crime that he has been targeted for and begs for his life after you confront him.

Warning: the following dialogue could be very disturbing with themes of murder. Reader discretion is advised.

“Please, haven’t I suffered enough? Don’t you think I know how much suffering I’m responsible for? I can’t sleep. I haven’t slept in…the guilt I feel. I’m so sorry, I know I can never…I’ll pay you. Twice what your client is paying, triple, please, I’m a [inaudible, I think he says broke or good] man. All I want is a second chance. Everything I ever did I did for love…please…I see it in your eyes. You’re not a bald man, uh, a bad man. You can’t just kill me…please…ah, no, don’t…please, please, I beg you, I haven’t done anything. Please, I don’t wanna die.”

Note: I recorded that scene on my phone and play it back a few times to get the full quote and I’m not going to lie, the dialogue and delivery messed me up. I had to take half an hour after writing the quote just to compose myself.

Yet we kill him anyway because it is what we do. We continually bringing destruction and death to subroutines and AIs until the job is done. Like 47 we are “born” into the game world to kill; we have no morality system to shape us, only a number with seven zeros after it and two words signalling if we have done a “good job”.

So while I love the Hitman series I have to admit that it has broken me. And all it took was the absence of violence. The lack of a kill made me realise how much it is pushed within the games I enjoy and how much I’ve been conditioned to go for it.

And that is very dark indeed.

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