Thoughts on two specific areas of the writing in Sonic X Shadow Generations
The best new 3D Sonic game in over a decade (or even two, depending on who you ask) dropped late last year. And I didn't write anything about it! Sometimes life happens. Well, I've finally sat down to finish Shadow Generations, and by now everyone has already been singing its praises for three months. This is the rare instance where the entire Sonic fandom, and even mainstream reviewers, are in agreement on something. The level design is the best it's been in a long, long time and the cool factor is off the charts, embracing Sonic's peak cringe era in an incredibly confident way. It's great. If you're even reading this post, you probably don't need me to tell you that. So I won't!
No, what I'm really interested in here is the writing. Because this is me we're talking about. But I actually don't want to talk about the main narrative of Shadow Generations, which is really solid little story about Black Doom trying to mold Shadow into his perfect soldier. No, I'd like to zero in on two other aspects of the writing here: the revisions made to Sonic Generations, and Gerald Robotnik's unlockable journal.
The updated Sonic Generations script
The new package mostly presents Sonic Generations how you remember it. There are some tweaks, but it's not a major overhaul. Graphically, I don't think the game has been touched much, if at all. I certainly can't notice any difference without a side-by-side comparison, despite playing it on a PS5. The most notable update is that the game's script has been rewritten by Ian Flynn.
Naturally, this caught my attention. Generations always had a nothingburger story, so with Ian rewriting Pontac and Graff's lame dialogue there was nowhere to go but up. (I don't like to pin the blame for those games' stories entirely on them, as a ton of it was dictated to them by Sonic Team, but, well, I don't think they're very good dialogue writers.) But it's less a complete rewrite and more like Ian was brought on as a script doctor for some minor touch ups here and there. Many lines of dialogue are completely identical to how they were originally written in 2011, and many others only have slight wording changes. Ian was clearly not allowed to request additional scenes or extend the ones that already existed. He has to match the original beat for beat so that they can reuse 99% of the cutscene animations. Don't expect it to be a whole new experience compared to the original.
Still, I think the new script is an improvement, albeit a minor one. Various things have been tweaked to maintain characterization consistency. Cream calls Sonic "Mr. Sonic" instead of just "Sonic." Instead of calling Sonic "buddy," Rouge uses the pet name "Blue," like she tends to do in things like the IDW comics. Espio doesn't have to remind you in the dialogue that he's a ninja, and he no longer has a line making it sound like he has some kind of soul reading power. I also like that Modern Sonic now actually has responses to what his friends say when he rescues them, rather than being silent like Classic Sonic. They won't blow you away, but they make Sonic feel a little more engaged with everything.
In general, the altered dialogue just seems tighter to me, and some of the more childish or trite wording of Pontac and Graff's script has been altered. Here, let's actually make a direct comparison, just because this stuff is interesting to me as a writer. Here's a couple lines from after the Egg Dragoon fight late in the game, in the original script:
Modern Eggman: Ooooh... I can't believe this! I was supposed to beat you this time.
Modern Sonic: Aw, I'm sorry! I didn't get that memo. I beat you every time! [Turns to Classic Sonic] No, seriously, we beat this guy every time. It's like it's our job or something!
This is a simple exchange. Eggman is mad that he lost. Sonic is unflappably confident because he always beats Eggman, and he explains this to his younger self. But the wording here isn't particularly good. Eggman's simple and direct wording makes him come off like a little kid who's mad because his older brother beat him at Mario Kart, rather than a mad scientist who just had his plans foiled. It's making light of the situation.
And I've never liked Sonic saying "It's like it's our job or something!" That doesn't feel like a thing Sonic would say, it feels like a thing an outside observer would say about Sonic. This is a frequent problem with so-called "MCU dialogue," where quips meant to echo the commentary of a casual, somewhat disinterested audience are inserted into the story itself so that the writers can be like "See? We get it. We're genre-savvy, too!" It also just reminds me of bad Sonic Boom: Rise of Lyric lines like "Rings! It's like they're made for me!"
And then here's Ian's rewrite:
Modern Eggman: I recalibrated everything! This was supposed to be my time!
Modern Sonic: Oh, please, keep dreamin', Egg-head. I beat you every time. [Turns to Classic Sonic] No, seriously, we beat him every time. Our score card's flawless.
Eggman's still mad about his defeat, but the line "I recalibrated everything!" makes it more specific. He put all this work into the engineering side of his latest scheme and got tunnel vision, thinking if he got his creations just right there'd be no way he could lose. "This was supposed to be my time!" also turns it into a time travel pun, which is a bonus. He's still pitching a fit over losing, but it feels more like Eggman pitching a fit, rather than sounding childish.
And then instead of saying that beating Eggman is "like his job or something," Sonic says he's got a flawless score card against Eggman. He doesn't take Eggman seriously as a threat—at least, not to his face. He acts like it's all a game. But he conveys this in a way that feels truer to the character, rather than feeling like the words of a real world observer poking fun at the tropes of the Sonic series.
Is this amazing, A+ dialogue that blows me away? No. Again, it's not a completely different scene from the one we already had. Ian had to fit the beats of what was already there. He couldn't go all out and write an all new story confirming his longstanding headcanon that the Time Eater is a remnant of Solaris or whatever. But the wording here makes the existing story land a little better and feel truer to the characters in subtle ways.
But to me, the main change is that the Sonics and Tailses seem to have a more solid understanding of what's going on with the timeline and the Time Eater, compared to how idiotic they sometimes seemed in the original game. Which is good! No more standing outside Green Hill and wondering why it seems so familiar. Thank god. As part of this, yes, there are a few more references to past games in the dialogue, like Sonic briefly being confused about the fact that they're time traveling without the Time Stones, or South Island and Westside Island being acknowledged as the normal locations of Green Hill and Chemical Plant. Yes, ha ha, insert joke about how Ian loves references here. Look, it's Sonic fucking Generations. It's a game built entirely out of nostalgic references. Just own it! And, again, in this instance Sonic and Tails come off as less stupid when they make it clear that they do, in fact, remember their adventures from presumably less than a year ago in-universe.
Eggman, too, seems to have a better understanding of the powers he's toying with. Where in the original vesion his focus was simply on going back in time to undo his previous defeats and he seemed kind of oblivious to how much the Time Eater was actually fucking up the universe, here Eggman says he wants to use the Time Eater to give himself complete control over the entire timeline. Eggman also makes way fewer references to his own failures and shortcomings. Of course he won't admit that Sonic has defeated him time and time again. To him, he's never truly lost—Sonic just keeps delaying the inevitable total victory for the Eggman Empire.
So, yes. The new Sonic Generations script is better. It won't blow anyone away, but it's better than it was. It's been elevated from "kinda lame" to "fine." No, if you really wanna see Ian flex his ability to breathe new life into old Sonic stories, look no further than...
Gerald Robotnik's Journal
Hoo boy.
The story of what happened aboard the ARK has always been... a bit confusing, to say the least. Fans with encyclopedic knowledge of the script for every route of Shadow '05 may disagree, but it's the truth. We've had all the pieces to understand the story for a long time now, but that info was given to us out of order by a pair of unreliable narrators—Gerald, who became a vengeful lunatic shortly before his death, and Shadow, who was subjected to multiple rounds of amnesia and altered memories. Some of the ambiguity left by Sonic Adventure 2 was cleared up in Shadow '05, but that game also retconned in a bunch of new elements to Shadow's backstory (aliens!) that lead to further confusion. Not to mention the fact that that game had multiple routes and only revealed the truth about Shadow if you sat on the ultimate final boss battle for WAY longer than the fight would normally last. Or the fact that Sonic X made its own tweaks in its telling of the story. Or the fact that none of these things ever had the best English translations. I can't blame anyone who hasn't played those games in two decades for not remembering the truth about these characters and getting some details mixed up.
What we needed was something to piece together all of the info we have into one coherent backstory, told in chronological order. And thanks to Shadow Generations, we have that, in the form of an official journal tying together what we knew from Sonic Adventure 2, Shadow '05, and Sonic Battle into the tragic tale of Gerald's rise and fall.
Ian Flynn was the perfect man for the job here as the guy who started his career by tidying up the mess that was the first 159 issues if Archie Sonic. This is what he excels at: taking disparate bits of weird Sonic lore from multiple different sources, boiling them down to their most interesting elements, and connecting it together in a way that will make the audience see the dramatic potential he's always known was there. Rather than feeling like a cynical exercise in franchise building, going back and explaining things that never needed explaining so that people can add more bullet points to the wiki, he puts a new spin on things that retroactively enriches those past stories. The story here means something to the characters involved and gives us a better understanding of them as people, rather than as plot devices to motivate Shadow.
(And, of course, Ian didn't do this journal alone. He wrote the story, but I also have to give a huge shout out to Evan Stanley, who made the final product. All of her handwritten journal entries, sketches, and "photos" included throughout. The physical damage done to the journal over the course of 50 tumultuous years, passing from Gerald to Eggman to a certain special someone at GUN. The way Gerald's handwriting gets less and less legible as his mental state declines. So much love was put into what could have been a mere text dump in a menu, and it really elevates it to the next level. Congrats on officially getting hired by Sega, Evan, you've sure as hell earned it!)
The main idea the journal conveys is that Gerald was under a lot of pressure from a lot of different parties—GUN, the President, his colleagues aboard the ARK, Black Doom, even his own family—and boy did it get to him. The known incidents aboard the ARK mentioned in previous games are put together here to form a story where everything slowly spirals out of control as Gerald keeps compromising his morals to further his research, thinking he'll eventually find some way out of all this because he's a genius. I won't recap that whole story here (if you haven't already played the game and read the journal entries, I would highly recommend at least reading it on the Sonic wiki), but I'd like to highlight my favorite elements of the story, as Ian tells it here.
1) The Eclipse Cannon
Here's something that never quite made sense in Sonic Adventure 2: why does the ARK have a laser that can blow up the Earth built into it? It was supposed to be a peaceful research colony. Sure, Gerald went crazy and swore revenge on the Earth, but, like... when did he have an opportunity to go back up to the ARK and modify it? Did he have someone else do it? How? The ARK was raided by GUN and shut down! And then they arrested him, held him in prison for an unclear period of time, and executed him by firing squad when he was no longer useful! It doesn't add up. Shadow 'the Hedgehog '05 would give its own answer by introducing the Black Arms and saying that the Eclipse Cannon was always supposed to be a secret trump card against the Black Comet. But, like... we know that's kind of a bullshit answer, right? You don't need enough power to blow up a whole planet just to destroy a comet.
Well, the new journal retains what we already knew, but it paints a much more complete picture.
See, long before Gerald ever made a Faustian bargain with Black Doom, he had already made one with an even greater evil: the military. GUN gave Gerald much of the funding for the ARK, Gerald's personal utopian research station in space, but it didn't take long for GUN to start pressuring him to design them weapons. Gerald tried to get GUN off his back by personally contacting the President of the United Federation, and the President gave him an alternative: how about, instead, you just use your genius brain to figure out the secret to immortality for us, so our soldiers can be immortal? Gerald was initially sickened by the notion and found it completely absurd, like chasing a shadow... but given no other option, the sarcastically named Project Shadow soon began in earnest. (Maria would later put a more positive spin on the name after Shadow's awakening, pointing out that a Shadow can show us the direction of the light, like she says in the game itself.)
Of course, this search for the ultimate life form didn't go very well, and without any results on that front GUN kept hounding him for weapons. Gerald would throw them a bone here and there to get them off his back. His research on Chaos resulted in the Artifical Chaos prototypes, which he worried would be used for warfare but could at least theoretically be used for search and rescue missions in floods, in his mind. But that wasn't enough. So he gave them Chaos Drives to power their mechs. And that still wasn't enough. He's got Emerl. He'll give them Emerl. They're not impressed by Emerl. They'll shut the whole ARK down if Gerald doesn't give them something big.
Fine! GUN wants something big? Gerald builds a huge fucking laser cannon into the ARK. However, as a middle finger to GUN, Gerald makes it so powerful that it would destroy the Earth if it was ever fired at any target on its surface. In other words, GUN now has their ultimate weapon of mass destruction, fulfilling his contract, but they can never actually use it. Oh, the delicious irony. (And also Shadow will blow up the Black Comet with it in 50 years yada yada yada.) Is this perhaps extremely shortsighted and naive of Gerald, to believe that such a weapon would never actually be used just because of the risk? Of course. But hey, that's Gerald for you. And I love this as an answer.
(Also, this, uh, kinda echoes something from real life! Remember the bit in Oppenheimer where he says all nuclear war will become unthinkable, and Edward Teller responds "until somebody builds a bigger bomb"? Yeah, Teller went on to conceptualize a superweapon codenamed Project Sundial that would have been able to kill all life on the planet, as the ultimate deterrent for war. This was never made for obvious reasons, but hey, there's a basis for this sort of thinking outside of heightened sci-fi! There's a whole Kurzgesagt video about this if you're interested.)
2) The Biolizard
The Biolizard is, of course, brought up as the initial failed prototype of the ultimate life form, from before Gerald met Black Doom. We don't really learn all that much about it that we didn't already know, but I just love the way it's framed in the story.
As you can see above, we actually get to see a picture of Maria holding up the cute little salamander that would end up mutating into the Biolizard through Gerald's experiments. (Researchers want to figure out how to replicate salamanders' regenerative abilities for humans in real life, too, so this was a natural starting point for the project.) And then, after it grows to a monstrous size and goes out of control, Gerald has to lock it away in an unused sector of the ARK. He needs to keep the poor thing alive for his research into harnessing Chaos Energy, building life support systems directly into it, but he doesn't have the heart to tell Maria what happened. So it just becomes this first dark secret weighing on his conscience. The Biolizard becomes Gerald's Tell-Tale Heart beating beneath the floorboards of the ARK. I love that.
3) Lost Impact was the breaking point for the ARK
Remember the level Lost Impact in Shadow '05? The flashback level on the hero path where Shadow is running around fighting Artificial Chaos enemies on the ARK 50 years ago? Yeah, that wasn't just a random incident. That was important, as we now know due to its placement on the timeline.
See, Emerl's rampage aboard the ARK that was chronicled in Sonic Battle and Dark Beginnings set off a domino effect. Emerl riled up the Artificial Chaos, causing Gerald to lose control of them. They became violent, and so Shadow had to stop them, as depicted in Lost Impact. The thing is, that incident sent an SOS signal to GUN telling them that shit was going down on the ARK. Gerald didsn't fully understand the trouble he was in and assumed that he'd simply be reprimanded by the higher ups, or maybe face legal action. But, well... the next time he heard from GUN, armed troopers were raiding the ARK.
So Lost Impact was the straw that broke the camel's back. I just really like that detail.
4) Maria
And, of course, there's Maria herself. Maria has often been more of a symbol than a character, this perfect embodiment of everything that's good and pure in this world who gets killed to motivate Shadow and Gerald's revenge plots. But I really like the wrinkles this journal adds to her and Gerald's story, and their relationship. This is the most fleshed out they've ever felt.
For one, the journal leans into the idea of Maria's intellectual potential. The rest of the Robotnik family is all geniuses, after all, and she was proving to be a really bright kid. She excelled in her studies on the ARK, and she even helped design Shadow's jet skates and inhibitor rings. When Maria died, the world didn't just lose a symbolic personification of purity. She genuinely could have been a hugely influential scientist who did so much good for the world. That's what Gerald wanted for her. But we'll never know, because GUN killed her.
Speaking of her family, their presence isn't just mentioned for the sake of fleshing out the Robotnik family tree. It's mentioned that as Gerald struggled to find a cure for Maria's illness through his genetic research, he faced mounting pressure from his family. They didn't want Maria to be up on the ARK forever. They wanted Gerald to hurry up and find a damn cure, or otherwise just send her back home to Earth so she could be with her family again. She'd been up on the ARK for so long that Gerald's coworkers started thinking that she had been born up there. Eventually she gains a baby sister on Earth who she's never met. A rift forms between Gerald's two sons, and he's unable to really deal with it because he's so consumed by his work. There's this sense that the family is falling apart, and that everyone is dreading the possibility that Gerald will never find a cure and that Maria will just spend her final years up in space and die far away from her family, because Gerald just couldn't let go. If that happens, it'll break the whole family. But he can't stop now. So he just keeps working. Curing Maria is the only way to win his family back, in his eyes. It can't all be for nothing.
But my favorite detail regarding Maria is this one paragraph:
Maria is growing into a lovely young woman. It breaks my heart that someone as bright and energetic as her is diminished by disease. There are no visible effects, and I've caught my fellow researchers muttering to each other, doubting her illness. It is infuriating. I find all my reason and restraint vanishes when she's slighted.
This is SUCH a great addition to the story! It's always been true that Maria doesn't really seem all that ill, just looking at her in cutscenes. With this one little comment, Ian flips that issue on its head and turns it into a story about invisible disability. She doesn't act like she's in chronic pain, so she must not be, everyone thinks. And this really, really gets to Gerald, as does the pressure from his family. He's dedicating his whole LIFE to saving her, and they think she's faking it?! It's such a small addition, never referenced elsewhere in the journal, but it adds so much flavor to the story, as does the implied family drama. It grounds Gerald and Maria and makes them feel more like real human beings, rather than being pure archetypes. It's just enough info to let my imagination run wild filling in the blanks.
You also get the feeling that Maria being such a walking ray of sunshine was the only real source of joy Gerald had left in his life before Shadow was awakened, and the only thing keeping him from snapping under pressure sooner. All this stuff just keeps piling on, everything's spiraling out of control, but at least Maria is keeping her chin up, right? It makes so much sense that losing her would make him go off the deep end when it's framed like this.
It's just... man, I never thought I'd care so much about Gerald and Maria. But that's the Ian Flynn touch. After years of less than stellar Sonic writing that seemed to be embarrassed of itself, I'm so happy to have new games coming out that fully embrace the history of the series like this, making its world feel so rich and real instead of just serving as an excuse for a string of platforming levels. I don't even like Shadow '05, but I'll be damned if Ian and the rest of Sonic Team didn't make something amazing by "yes, and"-ing Shadow's cringe past here. Sonic has truly reached levels of "we're so back" never thought possible.
This stops being quite as "zany shitpost" and becomes "Accidental Performance art commentary on Accessibility" when you consider the vast number of people unable to sit upright or leave a bed, most or all the time. No you don't see us, we're in bed either all the time or when our conditions flare up and put us there regularly.
When i first saw this I thought, "HAH- too bad that's not a feasible thing, then I could go so many public places while still safely cushioned and laying down!"
...only then did I realize how many people would never see it that way.
"how can m/f ships be good-" first of all through the power of bisexuality anything is possible so write that down. second of all if we start othering ships based on gender and nothing else we're no better than the opposition. third of all you need to watch more addams family
personally i just think it should be illegal to have more than 2 things going Bad with your body at a time. it's just excessive. i want to speak to a manager. the current hardware was not designed with the user in mind.
On the topic of humans being everyone’s favorite Intergalactic versions of Gonzo the Great:
Come on you guys, I’ve seen all the hilarious additions to my “humans are the friendly ones” post. We’re basically Steve Irwin meets Gonzo from the Muppets at this point. I love it.
But what if certain species of aliens have Rules for dealing with humans?
Don’t eat their food. If human food passes your lips/beak/membrane/other way of ingesting nutrients, you will never be satisfied with your ration bars again.
Don’t tell them your name. Humans can find you again once they know your name and this can be either life-saving or the absolute worst thing that could happen to you, depending on whether or not they favor you. Better to be on the safe side.
Winning a human’s favor will ensure that a great deal of luck is on your side, but if you anger them, they are wholly capable of wiping out everything you ever cared about. Do not anger them.
If you must anger them, carry a cage of X’arvizian bloodflies with you, for they resemble Earth mo-skee-toes and the human will avoid them.
This does not always work. Have a last will and testament ready.
Do not let them take you anywhere on your planet that you cannot fly a ship from. Beings who are spirited away to the human kingdom of Aria Fiv-Ti Won rarely return, and those that do are never quite the same.
Basically, humans are like the Fair Folk to some aliens and half of them are scared to death and the others are like alien teenagers who are like “I dare you to ask a human to take you to Earth”.
We knew about the planet called Earth for centuries before we made contact with its indigenous species, of course. We spent decades studying them from afar.
The first researchers had to fight for years to even get a grant, of course. They kept getting laughed out of the halls. A T-Class Death World that had not only produced sapient life, but a Stage Two civilization? It was a joke, obviously. It had to be a joke.
And then it wasn’t. And we all stopped laughing. Instead, we got very, very nervous.
We watched as the human civilizations not only survived, but grew, and thrived, and invented things that we had never even conceived of. Terrible things, weapons of war, implements of destruction as brutal and powerful as one would imagine a death world’s children to be. In the space of less than two thousand years, they had already produced implements of mass death that would have horrified the most callous dictators in the long, dark history of the galaxy.
Already, the children of Earth were the most terrifying creatures in the galaxy. They became the stuff of horror stories, nightly warnings told to children; huge, hulking, brutish things, that hacked and slashed and stabbed and shot and burned and survived, that built monstrous metal things that rumbled across the landscape and blasted buildings to ruin.
All that preserved us was their lack of space flight. In their obsession with murdering one another, the humans had locked themselves into a rigid framework of physics that thankfully omitted the equations necessary to achieve interstellar travel.
They became our bogeymen. Locked away in their prison planet, surrounded by a cordon of non-interference, prevented from ravaging the galaxy only by their own insatiable need to kill one another. Gruesome and terrible, yes - but at least we were safe.
Or so we thought.
The cities were called Hiroshima and Nagasaki. In the moment of their destruction, the humans unlocked a destructive force greater than any of us could ever have believed possible. It was at that moment that those of us who studied their technology knew their escape to be inevitable, and that no force in the universe could have hoped to stand against them.
The first human spacecraft were… exactly what we should have expected them to be. There were no elegant solar wings, no sleek, silvered hulls plying the ocean of stars. They did not soar on the stellar currents. They did not even register their existence. Humanity flew in the only way it could: on all-consuming pillars of fire, pounding space itself into submission with explosion after explosion. Their ships were crude, ugly, bulky things, huge slabs of metal welded together, built to withstand the inconceivable forces necessary to propel themselves into space through violence alone.
It was almost comical. The huge, dumb brutes simply strapped an explosive to their backs and let it throw them off of the planet.
We would have laughed, if it hadn’t terrified us.
Humanity, at long last, was awake.
It was a slow process. It took them nearly a hundred years to reach their nearest planetary neighbor; a hundred more to conquer the rest of their solar system. The process of refining their explosive propulsion systems - now powered by the same force that had melted their cities into glass less than a thousand years before - was slow and haphazard. But it worked. Year by year, they inched outward, conquering and subduing world after world that we had deemed unfit for habitation. They burrowed into moons, built orbital colonies around gas giants, even crafted habitats that drifted in the hearts of blazing nebulas. They never stopped. Never slowed.
The no-contact cordon was generous, and was extended by the day. As human colonies pushed farther and farther outward, we retreated, gave them the space that they wanted in a desperate attempt at… stalling for time, perhaps. Or some sort of appeasement. Or sheer, abject terror. Debates were held daily, arguing about whether or not first contact should be initiated, and how, and by whom, and with what failsafes. No agreement was ever reached.
We were comically unprepared for the humans to initiate contact themselves.
It was almost an accident. The humans had achieved another breakthrough in propulsion physics, and took an unexpected leap of several hundred light years, coming into orbit around an inhabited world.
What ensued was the diplomatic equivalent of everyone staring awkwardly at one another for a few moments, and then turning around and walking slowly out of the room.
The human ship leapt away after some thirty minutes without initiating any sort of formal communications, but we knew that we had been discovered, and the message of our existence was being carried back to Terra.
The situation in the senate could only be described as “absolute, incoherent panic”. They had discovered us before our preparations were complete. What would they want? What demands would they make? What hope did we have against them if they chose to wage war against us and claim the galaxy for themselves? The most meager of human ships was beyond our capacity to engage militarily; even unarmed transport vessels were so thickly armored as to be functionally indestructible to our weapons.
We waited, every day, certain that we were on the brink of war. We hunkered in our homes, and stared.
Across the darkness of space, humanity stared back.
There were other instances of contact. Human ships - armed, now - entering colonized space for a few scant moments, and then leaving upon finding our meager defensive batteries pointed in their direction. They never initiated communications. We were too frightened to.
A few weeks later, the humans discovered Alphari-296.
It was a border world. A new colony, on an ocean planet that was proving to be less hospitable than initially thought. Its military garrison was pitifully small to begin with. We had been trying desperately to shore it up, afraid that the humans might sense weakness and attack, but things were made complicated by the disease - the medical staff of the colonies were unable to devise a cure, or even a treatment, and what pitifully small population remained on the planet were slowly vomiting themselves to death.
When the human fleet arrived in orbit, the rest of the galaxy wrote Alphari-296 off as lost.
I was there, on the surface, when the great gray ships came screaming down from the sky. Crude, inelegant things, all jagged metal and sharp edges, barely holding together. I sat there, on the balcony of the clinic full of patients that I did not have the resources or the expertise to help, and looked up with the blank, empty, numb stare of one who is certain that they are about to die.
I remember the symbols emblazoned on the sides of each ship, glaring in the sun as the ships landed inelegantly on the spaceport landing pads that had never been designed for anything so large. It was the same symbol that was painted on the helmets of every human that strode out of the ships, carrying huge black cases, their faces obscured by dark visors. It was the first flag that humans ever carried into our worlds.
It was a crude image of a human figure, rendered in simple, straight lines, with a dot for the head. It was painted in white, over a red cross.
The first human to approach me was a female, though I did not learn this until much later - it was impossible to ascertain gender through the bulky suit and the mask. But she strode up the stairs onto the balcony, carrying that black case that was nearly the size of my entire body, and paused as I stared blankly up at her. I was vaguely aware that I was witnessing history, and quite certain that I would not live to tell of it.
Then, to my amazement, she said, in halting, uncertain words, “You are the head doctor?”
I nodded.
The visor cleared. The human bared its teeth at me. I learned later that this was a “grin”, an expression of friendship and happiness among their species.
“We are The Doctors Without Borders,” she said, speaking slowly and carefully. “We are here to help.”
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