>>2193139
(hopefully I formatted this properly, if not, can someone tell me where to go to edit/delete posts?)
>I would personally caution against doing this since it could create a hellfire between Wolf and Fox, wherein Wolf would think of Fox as someone who did something unforgivable, seeing as we don't know who that other wolf was. And given Wolf's attitude, he would take certain slights personally, so hurting someone who could be family might enrage Wolf to the point of being inconsolable.
I think I could improve the dialogue a bit to hint at Fox McCloud being devastatingly remorseful for interfering with Wolf. It's with this, he discovered a vulnerable side to Wolf that Fox himself couldn't bear to destroy, hence his hasty decision to try and call off the team. Unfortunately, his prior presumptions and his hasty generalizations ruined a side of Wolf that Fox wants to fix. Fortunately for the story, the acquisition team only "arrested" both of them.
It'd be criminally insane to have the old man "killed". And trying to steer and turn the story to end this entire thing with sex is going to take a lot of work! Maybe the Assault ending can work. It's a bit more compatible. I just thought my approach could dive a lot deeper than having the characters *tell us* about themselves.
While I wish that would be the case, I can understand other people being impatient about it.
I think my approach *could* make for an interesting alternative story. Not necessarily canon, but almost close to how the real characters would truly react. But if it's canon you're after, then the ending of Assault could work. And if it's done right, then the wait might be worth it.
>That being said, instead of having Fox being someone who is trying to hunt Wolf down for a Coalition or the Corenian Government, it might be better for this to take place after Wolf saves him following the events in the Assault game. Where Fox would be trying to grapple with answers about how he should feel about his nemesis, given that the other tried to save him, thus leading Fox down a path of becoming somewhat obsessive with Wolf, wanting to find out everything he can about him. This way the auidence can learn about who Wolf is more definitively, since we don't have any concrete backstory on him.
I did do a bit of research, and I can see the events taking place after the End of the Queen making sense. I wouldn't mind that approach. It does set the stage. I just wish there was some kind of reference.
With my approach, I believe we can get a stronger grapple with answers if we present Wolf as an individual who isn't a "bad guy" just because he is; but a bad guy that has to do it for his family. It's all a facade. We can achieve that with the Assault ending as well, but I think this speaks louder than Wolf all of a sudden wanting to help Star Fox.
With this alternative story, McCloud feels this inclination - this sense of duty - to let him know that there's another way. . We've seen McCloud witness O'Donnell's personality running deeper than what he may have seen in Assault. And it's then we start to see Fox scramble to try and make things right and show Wolf another side.
I think with this approach, we can set the stage. Rather than "tell the audience" or have Wolf "explain himself", we can get a lot of character out of him by putting him in a pretty dire situation and observing his reactions. We let the world around them bring about their true self. That, in its essence, is the measure of character development.
>My thoughts regarding this other lupine would be that this may have been Wolf's father/uncle/or some other adult male who he was rather close to and this person had a troublesome past while Wolf was growing, leading to possibly him taking Wolf's eye during a heated exchange. In this way, this person becomes a central focus for how Wolf behaves, becoming guarded and wary of getting close to anyone because the scar from letting his guard down is one he can't help but see everytime he looks in the mirror, and yet at the same time gives him a sense of regret about not being strong enough or competent enough to help someone close to him
I appreciate the point of view of this old man that you've presented. It could also serve as an analogy to protecting a certain part of him - a part of him that's dusted and worn, isolated, and hidden away from all to see . . . under the bridge of a city that would - in more ways than one - walk right over them... Tying a lot of things to his character can set the narrative because we get to see how that part of him reacts to the outside world. Any kind of danger/threat.
>lf seems like a person of split minds, where he can do the right thing, but will do the wrong thing because it is easier or less complicated. That's why saving Fox is something of a contradiction to him, at the same time it makes perfect sense; Wolf is a man who wants a pack, that's why he made a team, that's why he ostracized Pigma when he crossed a line, that's why he looks after Fox, and why he would be protecting this unknown lupine living in such a miserable state.
If we're referencing the ending of Assault, I can definitely see that being applied to the story. The split mind thing is exactly what I want to encapsulate with this alternative. I see both ways working. In either case, he's forced to pick a side or come up with the ultimate decision. He crossed the line. This was a protest to a side of Wolf that's done nothing but hurt the people close to him. That's why the unknown lupine was kept a secret: nobody could discover his true self.
>He wants to do what's right, but he doesn't overstep his boundaries. He wants to have complete control, and yet he's also able to show mercy and empathy. He can be cruel, callous and downright hateful, but its mostly because he knows what it is like being hurt, so keeping others at a distance and making them despise him is an easy way to keep them in check because he will always have them in his light of sight, watching them with the only eye he has left.
With how you've described it, we can safely assume that Wolf is battling with what he believes in. The life he chose doesn't define the wolf he is.
With this knowledge, we can show more and more of his desire to be a better person come out a bit more as the odds begin to stack. Or maybe he crumbles. And Fox will be there to help him with his journey.
As the saying goes; talk is all cheap. . But actions are a bit more stronger.
>And in this way Fox can be the person who will get close to him in a way that no one else has, because Fox is his polar opposite. Fox had a good life, a strong family, and friends who he trusts with his life. He's a leader of people and a hero, but because of that truism he is also someone who knows how to take care of others. He can learn what makes them vulnerable or scared or angry and be able to comfort or admonish them in such a manner that breaks down their mental barriers.
And with Fox being in a similar situation to Wolf - Isolated, alone, with no one to call, and *also* on the run from this "coalition" because he went against his orders; we can give Fox a better idea of what Wolf goes through rather than a looking glass looking in. The barrier breaks the very minute Fox saves Wolf from the coalition.
>Something Wolf would be completely confused by because he's so used to keeping others at a distance. And as things progress with the time spent together Fox sets himself within Wolf's mind as someone that he can say things to that he wouldn't to either Panther or Leon or anyone else. He would be the confidant that Wolf could and would seek out as time passed, if only because he knows that Fox is someone that he can trust.
I completely agree with this. Fox ultimately speaks to a side of Wolf his line of work just wouldn't allow. Fox is his beacon. Fox is his way out. The only problem is, he's not sure if he's ready to pay the price. Given how far he's come with his villainous side.
>This way the two of them are what one another needs, with Wolf being someone who can do things and say things that Fox might not be comfortable with in both a professional and personal sphere, while Fox is someone who Wolf can lean on for mental and emotional support, a thing that, in his line of work as a mercenary, in very short supply.
We can display this kind of support through Fox becoming a gateway for Wolf to become a good guy. But the world isn't a perfect place.
Maybe he won't take it, but perhaps it can end with Fox seeing Wolf in a better light. It'd be a great start to an interesting, dynamic relationship with two rivals - acknowledging their morals and their differences - still coming out at the end of the day as understanding.
I suppose I'd like a story that didn't try and force the situation. Like real life, it should come naturally. But the natural way takes too long, so we just have to deal with this. I'd probably be upset with the wait, and the artist might get bogged down with the extra pages.
Now, I know the end-game of this comic *has* to be smoochy sexy time, and don't worry, I'm on board with you guys 100%! I just want the story to have a real big payoff, is all. But I can also see this not working; them having a fling when there's so much to worry about. . . There's no resolution to be had. No resolution = no sex :(
TL;DR - Too Long, Didn't Read
Let there be a good pay-off. Good story is very satisfying and worth the wait. Sex is just icing on the big hunky cake.
Referencing the ending of Star Fox: Assault and help ground the audience. Slight references here and there can set the stakes and keep things grounded. Talking about it can invite discussion and discovery.
Show growth and development through trial and tribulation. Not words. Maybe even have the characters reflect on their experience and actions.
We're intelligent enough to read between the lines. Add some subtlety to your writing.
Doublespeak. silence, even. . We're emotional creatures trying to rationalize a complex situation; it's not going to be easy.
Give Fox and Wolf a better goal to fight for. "I'm always this way" vs. "You're better than this" is so 1-dimensional. . .
I think tying this unknown lupine "getting taken away" can set the stage. Using the end of Assault could also work. But I think it'd be a bit harder or take a bit longer to reach a resolution.
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