Petals of Titanium -- My Life as a Mecha Setting Bridge Bunny Quest

Voted best in category in the Users' Choice awards.
This was very good. I hate it- ensign Kim was my favorite character from the Divine empire, and I was hoping for a Jovian PoV through her.

As far as our potential responses, my thoughts:

[ ] Anger, accusations

Try to get through to her about how wrong what she's doing is, how she's disappointed you.

This feels the most real to Amani right now- her sister is not just an enemy agent (as she knew and had some time to come to terms with) but now complicit in one of the largest war crimes in at least a decade. More than that, her reaction to seeing us in the uniform is really selfish- anger at us for giving her enemies a face she can't shoot. I think it'll be effective too, at delaying us, to be thrashing and screaming at her. We'd need to be careful not to tip over the line to where it'd be simpler to just knock us out.

[X] Guilt, confusion

Ask if she realises the gravity of her actions, how you would have helped her if she'd trusted you.

I want to vote for this one, I really do. I think it'd be best at breaking Mosi down, destroying her loyalty to the Divine empire, and removing her motivation to continue dragging us along. I think leaning again on the "you are taking me to die" line and probably bringing up father to drive it home would slow her alot, and I think she's vunerable to this line of attack: we'd be picking up where ensign Kim left off, basically.

We could also lean on the fact that she's been trying (ignorantly) to kill us since that first skirmish, and trying to do the 'noble' thing now is a hollow joke. She's certainly guilty enough about it, and the 'i didn't know' or '' was following orders' arguements are going to be a lot scummier in light of recent war crimes.

My one hesitation is that I'm not sure Amani would be holding herself together we'll enough to really do the cold-blooded manipulation required.

[ ] Cold disdain

Hurt her. She needs to hear it.

This is my least favorite. I see three possible outcomes from it- first, as mentioned, Mosi realizes she's destroyed her family, discarded her honor, and is a monster in service to an empire that despises her and spits on her loyalty, and now she is trapped with no way out. She kills herself. Mom hates us forever. Second, she accepts our decision and leaves us, escapes, and doubles down on her loyalty to the Divine empire as a desperate way to believe she still has some worth. No chance of redemption, and she is either executed here or is clear-eyed trying to kill us from now on. Third, she could decide that this means we are enemies now and forever, and shoot us here. I'm sure she'll feel guilty about it, but if she can't see a way for us not to be enemies, then her duty is clear. And it isn't like she doesn't already have a ton of blood on her hands.
 
Indeed, Gloriana has survived the potentially fatal encounter with the Enemy POV Character despite Amani's giving away her personal info. I am greatly pleased by this.
Although I would have been more pleased to see Lori nail the bitch through the chest with that cutter.
I'm just kind of amused by how mortifyingly embarrassing she'd find the idea of taking out this new high performance machine and then being killed by the mecha equivilant of two forklifts with pistols taped to their arms.

 
I'm just kind of amused by how mortifyingly embarrassing she'd find the idea of taking out this new high performance machine and then being killed by the mecha equivilant of two forklifts with pistols taped to their arms.
Look, I've never heard of a murder attempt involving two lightly armed forklifts that failed, so I assume that this was just a once-in-a-lifetime fluke in favour of Lori.
 
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[X] Guilt, confusion

One more for the pile.

Anger and accusations sound like a Dame Nalah thing, based on what little I've seen of her. She's earnest and intense, but seems like the sort of person that feels the need to bulldoze over other people in order to make things "right". Cold disdain is more the sort of thing Perbeck would use. Because... she does exactly that. Frequently.

The remaining option seems like the best way for Amani to be her own person.

Behaving like a distinct individual rather than a reflection of Mosi's most hated enemies in the universe would also be helpful, I suspect.
 
Ugh, why am I even being drawn back into this, despite the plot arc remaining more of the same.

To be honest.

She's not going to flip regardless.

She's too well brainwashed, even here in her doubts, she cannot possibly comprehend how she's done wrong.

Anger won't work because she expects anger--and she doesn't care. She's going to do what she's been doing. She's lived with anger thrown at her, and it's done nothing to dissuade her from her goals.

Guilt won't work because she cares, but it won't stop her from doing what must be done, there's likely escape-hatches designed into her conditioning that let her justify any number of war crimes as "Because at least it's better than not doing war crimes and I'm sure fewer people will die in the long run because at least it'll be easier for us to invade so it's good". She'll feel bad about the necessity, but I don't think she's mentally capable of recognizing that it wasn't necessary. Because it was good warfighting tactics, and the Empire Must Win.

Cut Ties... Well, yeah, that's the one thing she's not expecting. It's the one thing that she doesn't have an escape hatch for. She's prepared to accept anger, she's prepared to accept guilt, she's not actually prepared though to consider the one thing she cares about outside of her conditioning to reject her for the monstrous thing she did, so it'll actually have an impact rather than get channeled into one of her conditioning's escape hatches and ultimately shrugged off until she's expended by her masters or the war is over and she can be permitted to kill herself by her masters. Or more likely, executed for the war crimes they demanded she conduct to stabilize the homefront.

Heck, in a setting less crapsack than this one, it might be enough of a shock to actually damage the conditioning, because it straight up rams two irreconcilable beliefs against each other--and one of them has to break, and that'd normally be the artifically imposed belief. But what'll break'll probably be her giving a damn about her sister, because super science brainwashing doesn't get disrupted by something as simple as 'You have destroyed your happiness with your own hands, all praise the Emperor for giving you the guns to do it with' This is a setting without much in the way of hope--part of why I still can't bring myself to follow it as closely as it did despite the exceptional quality of the writing and the likable characters. I have enough misery in my day to day life.

But since I'm here, I might as well post it.

[X] Cold disdain
 
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Ugh, why am I even being drawn back into this, despite the plot arc remaining more of the same.
As a lurker, I'm honestly finding myself in agreement with this sentiment.

Putting aside more generalizations about how poor narratives keep hammering the negative tone non-stop or the unrealistic approach of putting a minority of military service into the spotlight, the thing that's been getting to me is... how often the protagonists' sister just seems to keep dodging death and ultimate consequences time and again. It's been made clear at times that her skill isn't saving her butt, which she has as much as the noble girlfriend to be fair, it's sheer luck that is responsible. And from how I've been keeping track, luck is outweighing skill by a noticeable margin. Unless this is the leadup to the setting having Newtype-esque psychic BS, in which case boo. Her character development potential's at an end, her narrative use is over, anything else would just be a rehash what's already been said and done. The sister's trapped, so if this ends with anything other than her getting shot or imprisoned, my SOD is pretty much done.

Frankly, if there was an in-character option to just shoot her now, I'd take it.
 
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As a lurker, I'm honestly finding myself in agreement with this sentiment.

Putting aside more generalizations about how poor narratives keep hammering the negative tone non-stop or the unrealistic approach of putting a minority of military service into the spotlight, the thing that's been getting to me is... how often the protagonists' sister just seems to keep dodging death and ultimate consequences time and again. It's been made clear at times that her skill isn't saving her butt, which she has as much as the noble girlfriend to be fair, it's sheer luck that is responsible. And from how I've been keeping track, luck is outweighing skill by a noticeable margin. Unless this is the leadup to the setting having Newtype-esque psychic BS, in which case boo. Her character development potential's at an end, her narrative use is over, anything else would just be a rehash what's already been said and done. The sister's trapped, so if this ends with anything other than her getting shot or imprisoned, my SOD is pretty much done.

Frankly, if there was an in-character option to just shoot her now, I'd take it.
Hrrm.
I feel like the trick is the perspective is...
Ah!
I think the problem is this is *Supposed* to be a Fighting Mecha Anime on some level right? Only because we're say, a Bridge Bunny versus one of the Pilots, we don't get to truly see what seperates the AWESOME HERO PILOTS from say, a run-of-the-mill pilot or our own side-character MC inside a Mecha.
So it feels like Mosi isn't that awesome or capable because being a pilot is eh, in terms of awesomeness and thusly her being able to out-duel Ito or get the best of Perbeck for a round is down to her Provesa being a 5* SSS Rank Mech versus our Ito's 3* B+ Armored Banner or Perbeck's 4* S Huntress. Plus, because 'the eternal grimdarkness of war' is something that's universal in this verse, and we're not seeing say, people fawn over the amazing Perbeck's awesomeness or treating Ito like the star of the ship, it just feels like a very very dark Wartime story, rather then the significantly more light-hearted tale Gaze is seeing (Yes I meant that ;D)
I'm also thinking it's not helping that QM is looking at some of the 'MC actually makes a major difference' options and going 'woowieee this could be so much harder for you guys like you don't even know', which is something QM mentioned before.

I'm going to hold out hope for a flip simply because Amani needs a 'true' win. Like we've gotten some prizes but they've always been kinda bittersweet. Doesn't help that the Questers keep going 'but this makes for a good storyyyy' instead of trying to pick a 'smart' option that's more likely to not bite us in the butt. You want the drama you don't get to opt out.
...Of course, I'm pretty sure as a QM I'd ALSO be liable to lie to Questor's faces about how meaningful the decisions they make actually are, because in my experience at the end of the day when it comes to Questing, making sure your audience walks away happy is more important than what makes a good story to begin with.
 
I think the problem is this is *Supposed* to be a Fighting Mecha Anime on some level right? Only because we're say, a Bridge Bunny versus one of the Pilots, we don't get to truly see what seperates the AWESOME HERO PILOTS from say, a run-of-the-mill pilot or our own side-character MC inside a Mecha.
Then the entire point of the cutaways to the perspectives of the pilots would be a total failure, as their point is to show what the pilot side of the world is like in select doses.

And given we do get that information well enough to get an accurate impression of what skill and technology is available to both sides, I'd say the person in error here is you.
Plus, because 'the eternal grimdarkness of war' is something that's universal in this verse, and we're not seeing say, people fawn over the amazing Perbeck's awesomeness or treating Ito like the star of the ship, it just feels like a very very dark Wartime story, rather then the significantly more light-hearted tale Gaze is seeing (Yes I meant that ;D)
And the trend continues with you seemingly deciding that the best way to dismiss tripping over a rope is to proclaim that's what the rope is there for.

This story is neither an accurate depiction of a military, nor one with a properly handled tone.
The old adage of "war is 90% boredom, 10% combat" is always accurate. This is an anime, so the 90% of our tour where we're not in combat is given only partial screen-time. The screen time is does show are relevant things to the later fight scenes and what the batch of characters are up to. Even the supposed shore leave has more screen-time devoted to the plot to sabotage the defenses than the dedicated character development. The clue is in the title: "Mecha setting". This is the "Hollywood got it wrong every damn time" depiction of war.

In regards to tone, I'm going to paraphrase Bennett The Sage on End Of Evangelion: "If you have nothing but bring the tone down without having it go back up, the audience becomes numb to what they're seeing". I'd wager there aren't any solidly happy moments. By that I mean instances that come with, at present or shortly after, no interference or overhanging elements from the rest of the plot to drag the tone back down. Getting a girlfriend? Distracted by worries about class stratification and the spy on the station. Going out drinking with your best friend? Drunken depression that ends in a reprimand with a signifigant political authority. And all three or four times the protagonist makes a breakthrough that can change the course of the battle, she either has her glory stolen or has to relinquish credit for the good of the mission.

There's a goddamn reason the best novels to come out of 40k are the Ciaphas Cain and Gaunt's Ghosts series. They know how to break up the darkness.

I know the knee-jerk thing is to come running to the defense of an author you like, but these sorts of poorly made arguments do nothing to help. Instead, look at what the actual argument is before responding. Here's the easy breakdown for you:
1. The common denominator Alectai and I both agree on is the tone is all negative, without any kind of proper balancing of warmth or to prevent burnout. How would you say the tone is, in fact, properly balancing the gloom with positivity?
2. A given justification for the continually depressing tone is that the story carries the horror and mental stresses of war. How is this accurately portrayed, instead of simply repeating what anime war has shown?
3. You have... some sort of argument about how Morsi's continued survival is playing the genre tropes straight? I really can't understand any of what that sentence was, can you speak plainly what you're getting at?
 
In regards to tone, I'm going to paraphrase Bennett The Sage on End Of Evangelion: "If you have nothing but bring the tone down without having it go back up, the audience becomes numb to what they're seeing".

Not all stories need to be that way. You are using your preferences to ignore entire swathes of literature which plumb deeply depressing depths of the human soul. There is no real happiness at the end of many Russian novels, or even throughout. That doesn't mean that Devils isn't a good piece of literature. You are repeating a preference and declaring it to be a universal standard required of writing. I suspect that Petals will have a pretty bittersweet ending, but not an overtly depressing one.

The old adage of "war is 90% boredom, 10% combat" is always accurate. This is an anime, so the 90% of our tour where we're not in combat is given only partial screen-time. The screen time is does show are relevant things to the later fight scenes and what the batch of characters are up to. Even the supposed shore leave has more screen-time devoted to the plot to sabotage the defenses than the dedicated character development. The clue is in the title: "Mecha setting". This is the "Hollywood got it wrong every damn time" depiction of war.

The fullest depiction of war would be far more grim than what's allowed for here, and would have ended the quest very early on. If you cannot stomach it, that's fine. I can't stomach a lot of stuff. I've also written deeply optimistic, very silly fiction. That doesn't mean this critique is reasonable. I think it's demanding the author to change their tone to suit your preferences because you simply don't like the way the story is going. But a story can't please everyone.

I don't think it's fair to complain about it not getting war right when the war you're demanding isn't actually narratively viable. Just because something is a war story does not mean it has to be entirely accurate to war. It can say important things about war without being some kind of intense replication.

And please tone down the hostility.
 
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As a lurker, I'm honestly finding myself in agreement with this sentiment.

Putting aside more generalizations about how poor narratives keep hammering the negative tone non-stop or the unrealistic approach of putting a minority of military service into the spotlight, the thing that's been getting to me is... how often the protagonists' sister just seems to keep dodging death and ultimate consequences time and again. It's been made clear at times that her skill isn't saving her butt, which she has as much as the noble girlfriend to be fair, it's sheer luck that is responsible. And from how I've been keeping track, luck is outweighing skill by a noticeable margin. Unless this is the leadup to the setting having Newtype-esque psychic BS, in which case boo. Her character development potential's at an end, her narrative use is over, anything else would just be a rehash what's already been said and done. The sister's trapped, so if this ends with anything other than her getting shot or imprisoned, my SOD is pretty much done.

Frankly, if there was an in-character option to just shoot her now, I'd take it.

Well actually, in this case, it's not luck but PC choices that led to Mosi's survival (which I suppose is "luck" from her end but only kind of, in that it was a result of the same encounter with Amani that left her in this bad of a situation to begin with). If we hadn't told Mosi about Perbeck, she wouldn't have had that card to play and may well have died then and there.
Doesn't help that the Questers keep going 'but this makes for a good storyyyy' instead of trying to pick a 'smart' option that's more likely to not bite us in the butt. You want the drama you don't get to opt out.

Have you seen anyone advocating for the "this will make an interesting story" options who is also personally complaining about the drama? I feel like you're conflating the preferences of one segment of the playerbase with the complaints of another, separate segment.
...Of course, I'm pretty sure as a QM I'd ALSO be liable to lie to Questor's faces about how meaningful the decisions they make actually are

Okay, can we not with the accusations of outright lies on the QM's part, given the lack of any concrete evidence to that effect? There's room to disagree about the direction of the story without assuming bad faith.
 
Not all stories need to be that way. You are using your preferences to ignore entire swathes of literature which plumb deeply depressing depths of the human soul. There is no real happiness at the end of many Russian novels, or even throughout. That doesn't mean that Devils isn't a good piece of literature. You are repeating a preference and declaring it to be a universal standard required of writing. I suspect that Petals will have a pretty bittersweet ending, but not an overtly depressing one.
I think the bolded statement and these lines of mine
"If you have nothing but bring the tone down without having it go back up, the audience becomes numb to what they're seeing
They know how to break up the darkness.
Are where the heart of the matter lies. Or rather, it would be more accurate to say there's a related point I didn't go into since it wasn't directly relevant in that post: That a story that overall carries a dark and depressing tone must carry something to prevent the reader from being burned out. The primary, and admittedly overused, example I turn to in such things is Worm. Whether its the characters or the world, the reader has something to hold their attention when the deaths and torture would otherwise turn them away. The Russian novels you cite, the tragedies of Shakespeare, the works of Edgar Allen Poe, they're all works of philosophical introspection, a gaze into the human character. Stories of the Gulags, Death Camps, and other atrocities are meant to give otherwise detached numbers a human touch, so that the current generation may prevent them from occurring again. It doesn't necessarily have to be happiness or positivity, but something has to give the audience a break from the depressing tone.

Petals Of Titanium at this point in time cannot fully separate that which should function as the attention-holder from the elements which eventually deplete a reader's interest.
The fullest depiction of war would be far more grim than what's allowed for here, and would have ended the quest very early on. If you cannot stomach it, that's fine. I can't stomach a lot of stuff. I've also written deeply optimistic, very silly fiction. That doesn't mean this critique is reasonable. I think it's demanding the author to change their tone to suit your preferences because you simply don't like the way the story is going. But a story can't please everyone.

I don't think it's fair to complain about it not getting war right when the war you're demanding isn't actually narratively viable. Just because something is a war story does not mean it has to be entirely accurate to war. It can say important things about war without being some kind of intense replication.
The success of books like We Were Soldiers Once And Young and its movie adaptation makes your claim that the wars of reality are not "narratively viable" completely inaccurate. Given you also claim I'm writing out entire genres, the wording... well, that could've been phrased better. I am sure you did not mean to come across as doing the same error I supposedly have. Or should I be taking the "what's allowed here" to mean that if one were to write something akin to With The Old Breed, it could not be posted due to its graphic content? And under the grounds of 'it can't be put here' it undermines the narrative?

Although, to be more at the heart of your point, I should clarify that my dissatisfaction with the military depiction lies in the fact that the quest has accurately depicted the classic Real Robot genre of the 1980s, benefits and flaws alike. Yes, the Grandaddy of them, Gundam, all made excellent points about war, ranging from both sides being human beings with strengths and weaknesses to the pressure being forced to constantly kill your fellow man puts on soldiers. But it, and many examples in the genre, do not go the full nine yards to portray a military conflict accurately. Therefore, a work sticking closely to the form and function of the genre likley not do so either. The dynamic of "Brother against brother", so to speak, is the focal point of the character interactions in POT, and it's done in a way a truly accurate war could never do.

Petals of Titanium replicats a genre I have longstanding objections to, yes. But that those issues are based in fact rather than pure opinion, and the emulation was a deliberate author choice, means critisism is not magically unwarranted.
Well actually, in this case, it's not luck but PC choices that led to Mosi's survival (which I suppose is "luck" from her end but only kind of, in that it was a result of the same encounter with Amani that left her in this bad of a situation to begin with). If we hadn't told Mosi about Perbeck, she wouldn't have had that card to play and may well have died then and there.
I... think I may have to double-check how much of Mosi surviving pre-station was down to player choice. If true, that would require a whole restructuring of my argument. Quest narrative takes a whole new lens compared to traditional narrative. Similar points, but the most immediate level, player interaction, trickles down to influence everything else.
 
I... think I may have to double-check how much of Mosi surviving pre-station was down to player choice. If true, that would require a whole restructuring of my argument. Quest narrative takes a whole new lens compared to traditional narrative. Similar points, but the most immediate level, player interaction, trickles down to influence everything else.
Offering a point of clarification, pre-station Mosi was involved in two onscreen battles with risk of death.

1. She ambushes and kills Ensign Song after Song injures one of her scout pilots and fights off Ito without dying (Ito is outnumbered here, Mosi still had another subordinate left)

2. She participates in the attack on the Rose and the Night Lilly which resulted in Ito's death. In this fight, she doesn't get unceremoniously blown up by long-ranged fire and then she holds off Six for a while, noting later that she doubted her capacity to hold her off indefinitely, disengages before it gets to that.

These are not outcomes affected by votes so much as like, me not arbitrarily killing off a major named antagonist in act 1 of a story without resolving plot threads related to her that I had invested a significant amount of words into. It is true that by the point of writing the recent updates I have a lot of trickle-down effects from earlier votes I can cash in on, though, sometimes repeatedly. "Oh right, you told Mosi about Lori" being one of them.
 
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Offering a point of clarification, pre-station Mosi was involved in two onscreen battles with risk of death.
That's what it looked like to me too, but thanks for the confirm.
Which brings us to the station mission.
These are not outcomes affected by votes so much as like, me not arbitrarily killing off a major named antagonist in act 1 of a story without resolving plot threads related to her that I had invested a significant amount of words into. It is true that by the point of writing the recent updates I have a lot of trickle-down effects from earlier votes I can cash in on, though, sometimes repeatedly. "Oh right, you told Mosi about Lori" being one of them.
A fair sentiment, as Mosi getting the mission blown or the entire team spaced over the first or second screw-up would've ultimately resulted in little difference for the family character dynamic than her getting smacked in the first fight. However, there's the limit to how much... causality one can tweak before it gets plausibility bending, as my initial post elucidated.
 
Petals Of Titanium at this point in time cannot fully separate that which should function as the attention-holder from the elements which eventually deplete a reader's interest.

The fact that a great many people do appear to be remaining engaged with the story seems to undermine your assertion of a supposedly fact-based failure to hold the reader's attention. I'm inclined to agree with Cetashwayo that this may just not be to your personal taste.
A fair sentiment, as Mosi getting the mission blown or the entire team spaced over the first or second screw-up would've ultimately resulted in little difference for the family character dynamic than her getting smacked in the first fight. However, there's the limit to how much... causality one can tweak before it gets plausibility bending, as my initial post elucidated.

Okay, but again, this latest incident - which you seem to be suggesting as the straw that broke the camel's back - actually was the result of a player-made choice (namely, "tell Mosi about Lori"). It is also worth noting that the expected outcome of that choice, while not necessarily manifesting in this exact manner, was in fact that Mosi would fare better than she otherwise would have in a future confrontation with Lori. So insofar as plausibility was distorted at all, it was at worst in pursuit of honoring the consequences of player choice appropriately - a concession which quests must generally be prepared to make, at least to some extent.
 
Am I the only one who doesn't find the story that dark and depressing? To me, it feels like a pretty standard lighter-grey versus darker-gray war story tonewise.

Like, the only thing I can think of as substantially more dark than a standard real robot anime was Ito dying, and even that is only due to it happening relatively early in the story.
 
Am I the only one who doesn't find the story that dark and depressing? To me, it feels like a pretty standard lighter-grey versus darker-gray war story tonewise.

Like, the only thing I can think of as substantially more dark than a standard real robot anime was Ito dying, and even that is only due to it happening relatively early in the story.

Not the only one. I think some people are confusing a quest where you fight on the losing side with darkness.
 
Am I the only one who doesn't find the story that dark and depressing? To me, it feels like a pretty standard lighter-grey versus darker-gray war story tonewise.

Like, the only thing I can think of as substantially more dark than a standard real robot anime was Ito dying, and even that is only due to it happening relatively early in the story.
Nothing happened that didn't already happen in Gundam somewhere!
There wasn't even a Colony Drop yet!
 
The fact that a great many people do appear to be remaining engaged with the story seems to undermine your assertion of a supposedly fact-based failure to hold the reader's attention. I'm inclined to agree with Cetashwayo that this may just not be to your personal taste.
Actually, I have something somewhat solid to point to in gaging broader interest: Likes and ratings. Since we don't have a recorded 'viewed' count akin to YT, and there are more people reading this than who decide to chirp up, this is the closest thing we have to an objective measure of interest. Now, there is 'growth over time', that is to say the number of likes picked up after a certain period of time past the update's posting. This inflates the count of earlier posts, and there's no exact way to be 100% certain of the specific rate other than the author going back through their alerts and doing the number-crunching.

But to give you a broad idea of what I'm talking about: The first five updates all have ratings numbers in the high seventies or low eighties. Cut to the last five updates, and we have updates that trend around the mid-fifties, with the one outlier being update 27 and its dramatic plot twist. And from what I can tell, this drop started around update 20, where the numbers before it were trending at the mid-sixties.

Now, unless there's some metric for quest participation drop-off I'm not aware of, and I'd be very interested in seeing site analytics like that, it does seem like there has been a slow decline in interest. You could argue that it has more to do with the lack of combat since we got on the station, but given there hasn't been an outcry for more robot and space ship action... yeah, I'mma say I'm still pretty confident in my analysis having grounding in fact.
Okay, but again, this latest incident - which you seem to be suggesting as the straw that broke the camel's back - actually was the result of a player-made choice (namely, "tell Mosi about Lori"). It is also worth noting that the expected outcome of that choice, while not necessarily manifesting in this exact manner, was in fact that Mosi would fare better than she otherwise would have in a future confrontation with Lori. So insofar as plausibility was distorted at all, it was at worst in pursuit of honoring the consequences of player choice appropriately - a concession which quests must generally be prepared to make, at least to some extent.
Actually, that's completely false. I never claimed that the Mosi shootout was the big breaking point for me. We are, after all, discussing her after she's killed purpose-built combat units in an unarmored, clunky mech armed with the equivalent of a nailgun and blowtorch. Then survived a crash landing to escape restraint in crowded station on lockdown from combat and known infiltrators.

In fact, what I said was:
The sister's trapped, so if this ends with anything other than her getting shot or imprisoned, my SOD is pretty much done.
I am fine with all of the above. I have no objection to it. But anything further like it, I would.

Are we straight on that?
 
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