Oni2:Slaves of War/Story
Not a plot, but notes on storytelling and ideas for a story.
Possible themes/events
- Capture of Konoko using nanotech or phase tech
- Mai __ her Imago stage
- Reaches
- Ascends past/around
- Resists reaching (is it irreversible?)
- Mai leaves Earth __…
- To train her Daodan
- To convince Daomen to help us
- To survive
- …by traveling through __
- The phase veil
- Outer space
- Time
- Mai rejects the promise of great power and becomes a normal person
- Dissolution of the WCG
- Exploration of the Wilderness
- Attack of the Screaming Cells
- Discovery of other Imagoes (perhaps in Wilderness)
- Betrayal of Mai or her group, possibly leading to lucky turnout by accident
- Rejecting given identity (Oni), discovering one’s true self (Oni 2), and then finding where one belongs (Oni 3)
- Mai feels the world is on her shoulders and is over-extending herself
- Mai is being flattered or worshipped by a group she must turn against
- Alliance with Mukade
- Self-sacrifice of Mukade
- Muro’s escape and downfall
- Introduction of Daomen
- Deception by Daomen
- Mai is sent around the world to fight Daodan hosts
- Nanotech vs. Daodan
- Introduction (nano seemingly winning)
- Climax (even match, world at war)
- Conclusion (Daodan leaves Earth)
- Conclusion (Daodan beats nano)
- Enemy saves Mai because she is needed for his plans, but he dies in the process, spiteful that he saved her but not himself
- Mai’s final team combines their abilities to aid her, perhaps building a chain like Cloud’s friends at the end of FFVII: Advent Children
Plot development
Make sure to provide twists and turns in the story. Perhaps use one of the alternate paths in the polylectiloquy or Oni 2 Storyline thread as a red herring before revealing the truth. At some point I can order the alternatives from least to most interesting and consider how that would work in the story. For example, the Daodan could be something to resist at first, seeming as dangerous as Mukade makes it out to be in Oni. Then it might turn out that, depending on how/why a host gives in to it, the outcome varies. The Daomen could seem benevolent and in need of help at first, then turn sinister and cunning, or desperate and selfish.
The story should not feel “safe” or “inevitable”. There should be cliffhangers and near-death and near-failure moments, the sort that down the road will allow fans to play “what if” games — “What if Mai didn’t spare this person?”, “What if so-and-so died there?”, etc.
Leave dangling threads. This can be a way of leaving room for multiple future story paths, or simply adding a bit of mystery for thoughtful players to chew on. One opportunity is the strange case of Bertram Navarre (see Unit 731 for inspiration). One can also create a sense of foreboding by dropping a phrase that has an ill portent but not explaining it for a while, as the characters ponder what it means.
A certain pretense of agency can be enjoyable, even in a linear story. E.g., “Assemble a team from around the world to accomplish your mission”. Even if the player doesn’t get to choose where to go first, the phrasing suggests that the player is the one in the driver’s seat.
It might be rewarding to start off with Konoko taking orders as in Oni, then breaking out after a certain point and making important decisions on her own.
Players who care about plot and character backstory love it when writers plan ahead. They eat it up when those little enigmatic nuggets that you drop in a corner of game 1 suddenly become meaningful in game 2 or 3. Far from a simple parlor trick for the gamer’s amusement, this practice wins you respect from the gamer, as evidence that you are adept at your storytelling craft. Regular TV viewers are starved for stories that are planned ahead, as TV (at least in America) is absolutely awful at pre-planning stories and then following through on those plans across multiple seasons.
It’s a smart idea to do two things: (1) plan ahead for sequels, and (2) make sure that each story is “detachable” or “collapsible”.
Oni provides a fairly good template for a detachable story: the game ends with the defeat of the villain and the foiling of his plan, but there is another big problem on the horizon that needs to be dealt with, and mysteries still remain about the Daodan. A minor conclusion has been provided, but the major conclusion (what to do about the pollution, what about the oppressive one-world government, where will Mai go and what will she become...) is still out there. Arguably the solution to the pollution is simply to give everyone a Chrysalis, but Mutant Muro showed us that this is a problematic concept, thus allowing for a sequel that addresses those problems. Similarly, Oni 2 or later games can end on a note which is arguably a conclusion or arguably a cliffhanger. For instance, if Oni 2 has the Chrysalis being distributed worldwide, then perhaps by the end of the game, the resulting chaos causes the WCG to break up. If the game ends on that note, then there is a similar sense of conclusion as found in Oni, namely that there is potential for a brighter future, but there is also looming chaos. This allows for us to hang back and see how successful Oni 2 is before deciding on making a sequel.
A collapsible story would be one that allows us to decide during the development process, even a ways into it, whether there will be a sequel and adjust it accordingly. For instance, if we decided to make an Oni 2 and 3 and allow for an Oni 4, we could follow this path: release Oni 2, begin working on Oni 3, writing a story that could extend to an Oni 4. If, during development of Oni 3, we find that sales of Oni 2 are not what we hoped — or if we are simply tired of the work and want to move on to something else — then we can use our fallback plan which allows Oni 3 to provide the major conclusion to the saga of Mai and the Daodan. It’s less likely that this will be useful when making Oni 2 and planning for Oni 3, as we will have no way to know yet how well Oni 2 is going to sell, however if we think that we might only be “mentally committed” to making Oni 2, then we should also allow the story to be collapsed such that Oni 2 provides the major conclusion. In theory (and assuming a few redundant assets are created) we can have almost up to the last minute in making Oni 2 to decide whether to drop in the major conclusion that ends the series, or the minor conclusion that leads to Oni 3. This is analogous to alternate endings shot for films.
It is probably worth making potential plot-flow diagrams for the following scenarios: Oni 2 only, Oni 2 -> Oni 3, and Oni 2 -> Oni 3 -> Oni 4. Mai’s story can easily run up to Oni 3 or maybe even Oni 4. After that, additional Oni games would need another protagonist and probably have to be set in a later time period, therefore it’s not necessary to come up with potential plots for those stories, as a new threat or issue will have to be introduced for those games along with a new protagonist.
One possibility is to have Mai become the progenitor of a line of Daodan users (similar to Naruto’s Sage of Six Paths), who discovers more and more about her Chrysalis and teaches it to others. By Oni 4, she could be out of the picture, simply a mythical figure in the lore of Daodan users. Perhaps she finds a way to prevent her Chrysalis from maturing in the usual (Imago) way, and “cultivates” it to eventually sprout into something grand when she dies.
Also, if we are planning on making a long series of games, each one should have its own theme which is addressed and resolved (like Oni’s issue of identity). The series as a whole will also need an overarching theme (such as “a return to nature“ or “preparation for parenthood”).
Character exposition
Mai
During Oni
Who is Mai as a person? Bungie doesn’t give us much to go on in Oni, although that’s partly justified because Konoko is an identity constructed by the TCTF. She didn’t know anything except life at the TCTF, and whether through osmosis, or a fondness for justice, she might have wanted nothing more than to be a cop when she grew up.
She eventually is violently separated from that identity when her closest friend Shinatama is detonated in an attempt to kill her. I wrote HERE that the game’s story can be broken into three acts, and Act 1, which has “Konoko” as the main character, ends with that event.
Act 2 is about a “Konoko/Mai” who knows her real name but is adrift, uncertain what her past or future is. Her actions in going to Regional State are easy to predict, as Griffin says, because she is no longer much of a person with an identity; she needs information about herself in order to make decisions and function as a human being with free will. Temporarily lacking an identity, she encounters Mukade and rejects his offer of an identity based on violence (ironically, rejecting this using violence herself).
Act 3 begins when Mai learns about her Chrysalis from Dr. Kerr, and she is able to act for the first time with knowledge of her true capabilities, by using the Chrysalis to survive her swim in the acid vat. At this point a character who is essentially a blank slate with only a name begins to create a new identity for herself; one of her first acts in making this identity is deciding Griffin’s fate in the next chapter. Although this decision is in the hands of the player, there is arguably only one correct choice, meaning that the canonical ending is where she spares Griffin and does not fight Mutant Muro.
So then, at the end of Oni, who is Mai? We know that she’s headstrong, and can be violent; we also know that she absorbs information quickly in the field, and occasionally even quips while under pressure; but that’s about it. It’s up to us to decide in Oni 2 how much personality to infuse her with, and in what direction she develops. The truth is that, as of Oni’s ending, she still hasn’t had time to develop as a self-actuated person. In a way, she might still be naive.
Before Oni
This early window into Konoko’s character, from before Hardy’s rewrite, is somewhat embarrassing, as it paints her as a generic “kick-ass chick”. These days the stereotype of a “strong independent woman” who is really just fan service has become something of a joke. Thankfully Bungie had staff preventing them from going too far in that direction.
One unanswered question from Oni: Where did Konoko get her name? No one at TCTF seems to be Japanese, but her father is.... If her name is supposed to mean “this child”, perhaps it was written by Hasegawa in a coded note to Kerr about taking care of Mai.
When we consider her upbringing, it’s unlikely that Mai could ever turn out to be a “normal” person. She doesn’t remember her parents. She grew up in a police station from age three (“orphaned at the age of 3”, manual), was implanted without her knowledge at seven (“Griffin made me a monster when I was 7 years old”, dialogue 14_54_21) and then probably was trained from an early age to be a cop so Griffin could keep an eye on her (“Her upbringing has been overseen by a legion of scientists and TCTF personnel, and she has been trained in the most advanced combat and counter-terrorism techniques”, manual).
Although we can imagine that Kerr was allowed to take her outside the HQ on weekends for the first few years, this probably would have ceased when she was made into a Daodan host. So Mai won’t be familiar with the little pleasantries of life: making a snowman in the winter, then coming inside for a cup of hot chocolate; playing “house” with dolls or playing with bugs like a tomboy; going over friends’ houses or people-watching at the mall. She didn’t even get the socialization with peers that comes with formal schooling. Her available entertainment would have been pretty limited if she lived in the TCTF HQ, so we can imagine her becoming something of a jock, spending spare time at the firing range just for fun (“expert marksman”, manual) or sparring with the droids in a training program to kill time (“master of hand to hand combat”, manual).
After Oni
At first, life without the TCTF must be frightening and lonely. No drills and exercises to practice, no orders to follow. No partners or allies around at all times. No active neural link in her head imparting situational info. If she is on the run, she doesn’t even have a bed to sleep in; she is ironically both more free and more restrained. Would Mai still retain her martial personality, or would she learn to relax a little, perhaps trying to acquaint herself with the normalcies of life? What is her favorite food? How kind is she? What does her laugh sound like? Does she become more feminine or is that not even a possibility for someone on her path in life? How does she feel about the Daodan inside her? In Oni, she was afraid of it; has she found some peace now?
Additionally, Konoko’s values came from the TCTF rather than her parents. What kind of moral framework can Mai possibly have after leaving the TCTF? It’s essential to show character development in response to her experiences in Oni 2, just as she changes in response to Oni’s events. Additionally, strong characters ought to have strong opinions (see “Strong women” section below). What if Mai is gung-ho about the Chrysalis, and then she learns that her Dad didn’t create it, but only found it? This could throw her into doubt about whether we really know what it’s for or how to use it. Her initial worshipful attitude towards the Daodan, and then possible rejection of it, could also represent something about parental attachment and neglect.
| “ | Instead [Choice of Romance] gives us elements of what I’ve sometimes seen called the Heroine’s Journey. The Heroine begins from a position of minimal privilege, but has some powerful goal or passion. She may then take on a mentor or helper to assist her in her attempt to escape her traditional role and do what she wants in life. Along the way, she rejects or loses a “typical” romance with a man who wants to protect her but who would stifle her. She undergoes further trials in the attempt to establish herself; if she does marry/become romantically attached, it’s much later in the story, after she’s distinguished herself as an individual and met someone who is willing to regard her as an equal. Alternatively, sometimes she ends up alone but self-realized to some degree. (Examples: Eowyn. Harriet Vane. The Julia Stiles character from Ten Things I Hate About You [which is not really The Taming of the Shrew at its thematic heart]. Arya in “Game of Thrones,” at least so far.) | „ |
Changes brought on by the Chrysalis
Mai should be a more advanced symbiote than her competitors. That means that she and Muro are on the cutting edge of what happens to a Daodan host, and reap the benefits (or discover the dangers) before anyone else. Their abilities are developed further than their enemies.
Mai could be developing a Daodan power of “super-intuition”, based on her grasping Muro’s plans in Chapter 2, and being able to follow Mukade in Rooftops (and maybe the objective texts show more of her intuition, although the help text for the Mutant Muro fight could be in her own head; develop this later). This could lead to the ability to predict enemy moves in both combat and battle tactics.
This intuitive power could also be used to allow Mai to avoid certain “Idiot Ball” clichés. For instance, she rescues someone whose mind seems to have been tampered with, and they say they’re okay, but after a little while, Mai decides not to bring them back to the others because she just feels that something isn’t quite right; she goes against the grain and makes the difficult choice to halt the rescue, rather than following the standard “good guy does something well-meaning but dumb” routine.
Is Mai’s life perhaps relatable to the average woman? Well, she does have a life form growing inside of her... and it is changing the way her body acts.... She also is concerned about its development.... When it is finished developing, her own life will be changed forever by it....
Is Mai continuing along the “super predator” path that Hardy envisioned? If so, does she start to feel a higher predatory instinct? Does she occasionally have the urge to attack other people even when they’re friendly?
Mukade
Insert something here about likeable villains and villains-turned-good guys.
Mai—Mukade
Various possible dynamics if Mukade is good or bad or dad. Can two Daodan hosts even get along? The first time, they were at each other’s throats. This could be a central theme of Oni 2: overcoming their drive to compete with or dominate each other.
Mai—Griffin
Although Griffin arrives to help Konoko in her final fight, we shouldn’t take this as a sign that they will be fast friends from that day on. The fact is, Griffin ordered the detonation of Shinatama, the only person Konoko was really close to (see next section). He then prolonged Shinatama’s suffering by making her into a machine to kill Konoko (whether Shinatama had the self-awareness of a real person is somewhat moot; the point is that Konoko thinks of her as a real person). It’s a miracle if Konoko doesn’t put a bullet in Griffin’s head for that; a friendship is way too much to ask for. We should expect them to go their separate ways after Oni. It’s also quite possible that Griffin continues to see Mai as a threat.
Mai—Shinatama
| “ | Shinatama/Konoko Relationship Analysis Analysis of the remains of the Shinatama SLD gave us a new perspective on the bond between the android and the agent she was patterned after. We have long suspected that SLDs might share some form of bond with their pattern donors: after analyzing Shinatama's engrammatic readouts we can now be sure. State analysis suggests that Shinatama thought of Konoko as family, a sister. Subconsciously Konoko might have realized this emotional connection and, as an orphan, fixated on this emotional bond. |
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One wonders if Mai and Shinatama played around together as “twin sisters” when Shinatama was newly a part of Mai's life. Mai would likely have been the instigator of various trouble, perhaps roping Shinatama into playing a prank on Griffin. Over time, Mai would have aged and Shinatama remained the same, and Shinatama would have been more like a little sister to Mai. Protective instincts could come into play at that point. It's not hard to understand why Konoko is willing to throw everything else away in order to go save her. What's lacking in Oni is a depiction of their closeness, such as a flashback level or a more personal conversation over their neural link.
Mai—Dad
“I guess I knew I had a father at some point but I don't remember him. Now I want to know everything about the man I tried really hard not to think about...” Bungie had about 20 years pass (orphaned at 3, and the old Unit Viewer says she’s 23 now) before she started thinking about Dad; we can understand why her memories would be foggy after all that time, without any need to resort to brainwashing or the Daodan to explain her amnesia. Simply being separated from her parents was probably enough trauma to make her want to forget her family.
If we introduce Hasegawa, and maybe Jamie posthumously in the form of flashbacks or old home videos, it would be good to incorporate in some way the feeling of a child towards each parent. Dad is a protective, assuring, steady presence. Mom is a doting, warm, touching presence. The mom faces the child, and stoops down to meet them eye to eye. The dad looks down from above, or stands with his back to them guarding or leading the way ahead. Perhaps we can find a way to work these parental feelings into the levels where they might appear in some way.
Key relationship
The key relationship in Oni is Konoko/Shinatama. What will it be in Oni 2?
Also, remember the Bechdel test!
Building relationships
This is overlapping with the "Empathy and sympathy" section, but in order to make people care about characters, those characters have to show some strong emotion, preferably after a certain amount of suspense or tension has been introduced. For instance, if Mai is going to have to cope with past trauma and learn to feel connected to others again, there could be another character who is even more damaged, to serve as a model. They act like they don’t care about anyone, but kindness shown to them catches them off-guard. Eventually they have an emotional sort of meltdown and show their true feelings.
Bungie connections
Don’t forget to work in some Bungie references: a precursor to the Marathon Marine/Halo Spartan (or descendant of the 117 men under "Gaius Licinius Marc--"?), the future settling of Mars (Marathon connection), the three AIs of Marathon (Shinatama’s Ghost = Leela, Deadly Brain = Tycho?, Damocles = Durandal?) or Rampancy. And the number seven is absolutely required.
Technology
We can’t ignore that there should be advanced tech by the time of Oni. Perhaps the WCG wants to use it in place of (or to fight) the Daodan. It will seem to be an even match-up at first, but eventually the Daodan will win because it is more advanced and evolves faster. Cf. Paradox’s nanomachines.
Also, technology is always further along than we think it is. The Germans used robots in WWII. We can currently create hover technology using magnets and extreme cold. And there’s always someone trying to push the envelope, even if history forgets them: da Vinci and his robot knight, Zadoc Dederick’s Daniel Lambert, etc.