London Calling - Thoughts of the full series

And it was, to put it lightly… Not good.

TLDR: It started fine, but each chapter was worse than the last, pacing was bad, plot threads were repeatedly dropped and picked up for no coherent reason, characters were inconsistent. I want another Overwatch comic series, but I want it to be well written. This was not.

Also, I would like to hear other people’s opinions on this series/finale. For my wall-of-text thoughts…


I had high hopes with the first chapter. It was a decent introduction that introduced Iggy and her dynamic with Tracer, as well as presenting the tensions in King’s Row before Alive, with an ending that suggests we will see Alive, and that the final 3 issues will be about the aftermath and fallout from the assassination of Mondatta.

The second chapter was okay. It felt like it was mostly a recap of past events. Whether its recapping issue 1, Tracer’s Origin, Uprising, or Alive, it felt like half the comic was stuff we have already seen. There were still interesting segments here with Kace’s and Mondatta’s speeches and conversations that shed light on the differences between the fundamental nature and ideology of Omnics and Humans (Humans served Mondatta food as it is Human custom, Omnics value the whole more than the individual.) The ending also added a conflict between Iggy and Tracer that we expect to see in the coming issues.

Chapter 3 is where it went downhill.

  • Iggy flip-flops between extremely anti-human and anti-human music, and having a reasonable conversation with Tracer or still loving her music over the course of the next 3 issues. If this is supposed to be an intentionally internal conflict with Iggy, it is not presented well. None of her dialogue from this point on is coherent. For instance, her conversation with Lizzy on the communicator in chapter 4 makes little sense in the context. She is saying words that are supposed to be cut-off for suspense, but after reading the whole issue… I have no idea what she was trying to tell Lizzy. “Kace is… It’s not Kace, its…” It reads like plain suspenseful dialogue that wasn’t supposed to have meaning. And even if she was trying to warn Lizzy that there was a shooter trying to shoot Kace, she does nothing about it just like she accused Tracer, and that was before the shooter missed and filled Izzy with doubts of Kace’s leadership, especially she was gung-ho and on his side in the immediate previous issue with no visible change in thought. If anything, Lady’s sacrifice looked like it only encouraged her following of Kace in context, especially since he finishes her sentence for her in the rejection of Tracer and humanity, and Lizzy at the start of the next chapter reinforces that. It is just incredibly inconsistent and hard to follow what is going on or why with respect to Iggy’s character.

  • We have Tracer’s Chronal Accelerator, which is inconsistently “repaired” and “damaged” regardless as to what happens with it. It had to be damaged because of Widowmaker, yet it works well enough to get back home. It stops working on the way to the riot, outright disables her on the way home so that Lizzy has to step in and help. Then its working well with Winston’s “temporary” fix, where temporary seems to mean only about an hour and goes back to randomly failing again in the fifth chapter. It is extremely inconsistent, where Winston’s repair was just as meaningless as it randomly paralyzing her in the middle of the street. The paralysis itself seems really out of place considering every other time we have seen Tracer’s chronal disassociation (Tracer Origins, Doomfist Origins.) It doesn’t actually add tension, the third or fourth time around it happens its an eyeroll. And it doesn’t feel like its damaged when Tracer can still use her powers at every chance she needs it with no consequence. Even at the end when she takes the bullet for Iggy, we hear the shout “Tracer! The Accelerator!” and then nothing bad related to the Accelerator happens, it works perfectly and flawlessly, allowing her to take the bullet. It’s just hard to follow and feels like its cheaply written conflict at the writer’s convenience rather than something that is consistent in the context of the story.

  • Lady’s sacrifice was a defining moment in Chapter 3. It didn’t make sense. Lady recognizes the danger and says that they need to move the crowd. Kace, the omnic whose ideology is established to differ from Lady’s, says to destroy the machine (presumably by rushing it). What we see is Lady not working to protect the crowd, but instead rushes the sonic pulse for seemingly no reason, and just Lady. There is no one among Kace’s command or supporters rushing it with her, she is the only casualty. This whole scene in general was hard to follow. There was a better way to write Lady’s sacrifice than this hard-to-follow sacrifice where she seemingly just kills herself to protect no one. The sacrifice being used as fuel in the next chapter is fair, but then its dropped completely by chapter 5.

  • The Police are anti-omnic. We see this in chapter 1, and again in the riot. In chapter 4, the police sergeant mobilizes the police to sector 5 - Underworld. This is one of the set pieces for the last few pages leading up to one final confrontation. This plot thread is dropped entirely as the police are absent from chapter 5. They don’t appear, there is no mention of the conflict that may or may not ensue, this thread is just dropped.

  • The overall pacing of events is hard to follow, chronologically and spacially. There’s a riot, Tracer is immediately there despite having a broken accelerator, and then the police pull out a sonic pulse that feels like it does nothing. “Bring in the second cannon” doesn’t give us any sense of space either, it a second cannon feels like it just shows up where its immediately convenient, fires, and then immediately disappears from existence. The trip from Iggy listening to Kace’s speech to seeing the shooter to calling him out are hard to follow with the rest of the events in Tracer’s apartment, which also feel incredibly rushed. And that’s not even getting into the final conflict where she saves Iggy, rallies all the omnics that disagree with Kace to save them from somewhere, then marches to some arbitrary somewhere else where Kace is and makes a speech to rally all of his allies to their side. Then Iggy gets shot at anyways?

  • The ending itself was just incredibly rushed and anti-climactic. Tracer gets shot, she goes into surgery… And then she’s in better condition than she was before she got shot. There was no stakes or tension. Her getting shot even without her access to Recall had no impact. There is no conclusion to Kace, or to the Underworld omnics, or to anything else mentioned. She gets shot, Kace runs away, she gets better, and then everything is explained away in exposition by Winston. “Oh he might be working with Null Sector. Also I fixed the grid, and your accelerator. Ready to go fight someone else now?” The Null Sector point might have been useful to tease in any point prior to this, but this just came out of nowhere to explain away what felt like a meaningless conflict.

  • Even just the dialogue and monologues between the characters feel like they prove that there was no cohesion or planning put out for this story. Just before she takes the bullet for Iggy, Tracer has a mental monologue about how she only ever thought of herself as a soldier, yet the first panel of the first page of the first issue is her calling her profession that of the “hero.” Top job if you can get it. It feels like each chapter was written in a vacuum without any regard for the rest of the chapters, even though they were all written by the same author.

Maybe these examples are just me being picky, but I had to reread multiple issues just because I couldn’t follow what was going on, why people were acting how they were, if Tracer was actually damaged, etc. Nothing felt like it had any cohesion or impact, it was just detached events happening roughly in sequence with no character growth. Tracer at the start and end are the same person, but she has a friend in Iggy. Iggy might have some leadership shown in exclusively chapter 5, but that is dropped by Tracer getting shot and then Iggy never being mentioned or shown again. Even in Tracer’s hospital scene where people are waiting for her to get better, its just rushed through with no sign of Iggy or Lizzy, and even in Winston’s exposition Iggy isn’t namedropped. Despite being the other main character, she just stops being relevant beyond “Tracer needs motivation to take a bullet for an omnic.”

I like the Overwatch comics. Some of my favourite pieces of the story such as Going Legit, Old Soldiers, or Masquerade are comics. And I want more Overwatch comics. I just want them to be good. Right now, I feel like I am trying decide whether or not London Calling is the new low for story content. I can’t decide if Zarya’s tragically bad Searching is better or worse.

If this series does tank, I want Blizzard to not take it as a sign that people don’t want comics. People do want comics. Its just this particular comic is bad.

16 Likes

I try not to be picky about writing, not since torturing myself with the fiasco that is Dragon Ball Super, but yeah, I don’t see how anyone in their right mind could possibly rank this higher than mediocre.

Even the issues with the writing itself aside, as I said in another topic, this felt like an anime filler to explain something that didn’t need explaining while waiting for the actual plot to start again. I just don’t get the decision to cover this period at all. I know it’s relevant to the conflict in Overwatch 2, and I’m sure Kace will show up, but we already know the situation with the omnics and stories like this are a dime a dozen.

For a Tracer story, I would’ve rather seen quite literally any other point in her bio. Her early days, any point during her tenure with Overwatch post-Uprising, the aftermath of her defeat against Doomfist.

4 Likes

If I can write… and if you don’t mind. I’ve created something like a… fan creation story… a story on Wattpad called: The Missing Racer [Overwatch].
You might enjoy it, if you wish to read it. Basically, I’m trying to fill that gap of missing stuff as much as I can.

I’m working on the reboot part of it where Tracer gets shot, and the hero of it, the Courier, takes her to the hospital, and also, brings her brother Daimon, and her roommate Emily, to be there for her.

https://www.wattpad.com/story/170788043-the-missing-racer-overwatch

her girlfriend Emily

7 Likes

I particularly agree on the anti-omnic and lady police speech. what happened to the humans who were about to invade the Underworld? why don’t we have any human media perception since Iggy’s death? if the intent was to show how intense the hatred between humans and omnics still is, we have not seen this at all from the point of view of humans.

I can also say that I am particularly disappointed in terms of technology. the famous “network” is never seen, and if it is reopened we know it only from a final dialogue by winston. the time accelerator has been mentioned many times but no useful or curious details about its use or maintenance are added. we can’t even have the satisfaction of seeing the means of transport that Winston used to get to King’s Row.

citing the null sector about Kace is not enough hype. Overwatch 2 already does that, but in fact this last chapter doesn’t even add any useful information to define the Overwatch Timeline (I made one, if you’re interested). I would have saved this chapter if there had been even the MINIMAL mention to go defend Doomfist’s glove at the museum (the ow’s first short).

I would like to underline the useless parts for writing:

  • Kace’s plot, in the end there was quite a lot of omnic audience who didn’t want to believe in Kace, there was no need for a mysterious sniper (and super useless to censor him in a silhouette)
  • other stupid suspense: hiding Lizzy’s face at the end of volume 3. she’s not a new character and the design doesn’t suggest her presence as a playable hero in the future at all (not as much as Iggy’s character design, at least).
  • completely useless to mention the human police. zero talk about why they should be acting in the Underworld at that time.
  • needless to show that Tracer takes Iggy’s bullet. it would have made sense in the previous chapter to make the omnic understand his error of judgment. but here who is the point of making Tracer a martyr? to the fandom?
  • I could also cut all the fake suspense of reaching Kace from chapter 4 to now. Iggy is saved with a blink, she’d only have seen Winston come in handy to pick up the Omnic.

a bad storytelling.

I found whole story rather meaningless. I do agree with lot of points. Flip-flopy character motivations, unnescessary suspense, non sensical plot. And worst of all zero effect on bigger story. If it was attempt at world building it was failed one - All we relly learn was there is fixated number of omnics. More of them die, less there is. Also they have pretty metal “burials”. Pradon…

Anyway we know now London’s Omnics live in Underground, people dislike them because Crisis, they were upset at death of their Spiritual leader. They protested and were ready to go violent but Tracer Winston and Iggy made it all good and everything turned dandy.

7 Likes

not entirely agree. the first two volumes are very interesting because they contextualize the order of events before Recall (alive) and above all they initially give an identity of the underworld. but this deepening then disappears. It is not like Orisa’s book who loves to mention the corners of the city, and above all London Calling does not delve into new faces.

who am I talking about? here are three:

  • the human who made Iggy discover music;
  • the police general of king’s row (only 1 vignette);
  • a silhouette of a sniper from Kace. was his style important? why keep it hidden?

but above all there is a horrible management of Iggy. really bad from volume 3, and making Tracer a martyr is of no use to her friendship with Iggy.

This segment of the lore would be better if it would be novel written by some author who knows very well required topics. Written stories are cheaper and more rich in details than comics generally.
If I recall, Hero of Numbani and Deadlock Rebels authors have experience for their stories.

1 Like

Nicky Drayden (Hero of Numbani) wrote The Prey of Gods, a sci-fi novel set in South Africa about a young girl and her robot.

Lyndsay Ely (Deadlock Rebels) wrote Gunslinger Girl, a novel about a 17 year old girl who is a fast sharpshooter in the American West.

5 Likes

And there we have Mariko Tamaki (London Calling) and I don’t see anything related to race opression in her previous works. That made bad mark on London Calling.
I think they should employ somebody like David Cage for London Calling. David is the writer and director of Detroit: Become Human, a story about a war between androids and humans.

Mariko Tamaki is a queer comics author who has worked for Marvel, DC, and Dark Horse, and has personal experience with racist oppression due to her mixed Japanese and Jewish Caucasian descent. These topics have also been thoroughly addressed in her personal works, which tend to center on young people with a combination of marginalized identities.

You can read a summary of one of Mariko’s graphic novels here to get an idea of the subjects in her personal work: comicsverse__com/skim/

You can read some of her writing on her own experience with racism here:
diversityinya__com/tag/mariko-tamaki/

Her Marvel comics series: marvel__com/comics/list/12945/crdSeriesByCreator/mariko_tamaki

Since Tracer is a lesbian woman and London Calling is a comic series, that’s probably why they hired Mariko. Using robots as stand-ins for people affected by bigotry is enormously dumb but that idea and imagery comes from Overwatch, not this author.

3 Likes

London Calling lacks the evolution of events:

  • Tracer quickly discovers that the mysterious hooded Omnic is Lizzy, what did I get with that fake aura of mystery that was solved immediately?

  • the time accelerator is almost the protagonist of Tracer’s problems, but despite this they do not have any extra science fiction information on its functioning, which instead we manage to have for example in Hero of Numbani for Orisa or for the healing technology of Mercy. No, the time accelerator is simply broken.

  • a mysterious silhouette threatens Kace, but what Iggy says is not an image to tell us his identity. ok, but why does he take many pages for something that is revealed immediately?

  • vol 4, the human police are about to intervene in the underworld, we also have the face of a general. vol 5: no sign of their existence in the epilogue. threat gone?

  • Winston intervenes immediately, but objectively you can only hear the “power” of recall in the epilogue. what sense did it have to make it necessary for a shield if (I repeat) this time accelerator is never deepened to justify its great importance?

  • Iggy is kidnapped. the “threat” is canceled by a Tracer’s blink.

  • Tracer gets hit, healed and completely healed in a few pages. what did she get in being a martyr in front of an already sorry Iggy she may have done it for herself to get hit, as redemption on Mondatta’s fate, but what kind of penance did she get with so few pages?

  • the network is repaired? ah, we are told. at this point I read all the Harry Potter books and the last one I have a friend tell me about it. whatever you want it to be, it was “just” the main problem of the underworld. but the stupid time accelerator that gives problems we have to see represented graphically.

the only character that in theory evolves (Iggy, from a patriotic rage, from a strong personal sorrow, to a search for peace worthy of a Steven Universe) where did she go? we left her shocked by the bullet taken by Tracer, and that’s it. it is simply shameful to have so much space and so many situations that do not evolve into pathos at all, nor give any notions, nor prove anything useful for later. is a continuous “I have a problem-here’s the solution” until he realizes that he has run out of space to write the last solutions.

this kind of Curriculum/life info is not so relevant, actually for what is the ending of LC :man_shrugging:. Isn’t the final message the problem, simply in THIS storyboard did not create any flow really useful for the evolution of the narrative, it is not the Overwatch team that decides how to expose the cycle of Solutions - problems that are proposed.

however we are talking about 5 volumes as a space to write on, there has been a lot of pages lost in “without pathos” actions.

Can you explain to me what these representative arguments have to do with London Calling when the problem of comics (or at least the latest volumes) is a storyboard that exposes events in a confusing way? :expressionless:

3 Likes

My post was in reply to the posts directly above it discussing the qualifications of guest authors on Overwatch stories. It wasn’t a response to the entire thread.

Their response is in reply to that. They are suggesting that the author being queer and Tracer being a lesbian is not the same level of qualification as what Nicky Drayden/Lyndsay Ely have when it comes to writing a compelling story with a familiar topic in the setting of Overwatch. Tracer’s sexual orientation has no relevance to the overall plot of the story, and the themes related to it are entirely absent. If Emily was a man named Emile, there wouldn’t be any change in how any of the events played out, its just not relevant to this particular story.

I don’t think that the problem is “qualification” though. Its just a badly written series. I can’t say if Mariko Tamaki is a good author or not (but this series has left a really bad impression) but other authors for Overwatch comics have had both hits and misses. For example, Andrew Robinson wrote Mission Statement and Legacy, which I thought were great comics, but also co-wrote Searching, which is the comic I feel competes with London Calling as the weakest entry to the series.

Its possible Mariko Tamaki could write a better Overwatch comic or series, but based on London Calling, I would prefer to read one from a different author.

4 Likes

the only flaw in searching concerns having dared too much in the details of the connection, but if you ignore the illogical presence of Orisa … it is a much more enjoyable comic. and if you want to be more picky, even better expose the detail on Sombra’s real name (more than anything else an intuition of the community that it was Alejandra who said it).

but returning to London Calling, I feel like not putting the two comics on the same level: despite some narrative exceptions, Searching does not have the rhythm problems of LC, nor does it give the feeling that the narrative space was not enough. it is rather annoying that in 5 volumes it was not possible to adequately narrate the details, or worse still not to represent them (like the epilogue for the network).

currently LC has become the most disappointing lore content, so far. obviously I’m talking about the last 2 volumes, not the first 3.

2 Likes

[quote=“Jewvia-1739, post:15, topic:590585, full:true”]
Their response is in reply to that. They are suggesting that the author being queer and Tracer being a lesbian is not the same level of qualification as what Nicky Drayden/Lyndsay Ely have when it comes to writing a compelling story with a familiar topic in the setting of Overwatch.[/quote]

(I don’t know why the first quote isn’t showing correctly!)
Let me restate my post.

Mariko Tamaki is a queer author who writes graphic novels and comics with a young adult fiction focus. She has personal experience with racism and oppression due to her racial background. In 2016 she began writing for Marvel, DC, and other large comics publishers on properties such as Spider-Man, Hulk, She-Hulk, Supergirl, Wonder Woman, Batman, and Harley Quinn. With Dark Horse she’s previously done work on comic tie-ins for the Tomb Raider videogame reboot and the Pixar movie Onward. She has won multiple awards for her work.

Looking at this author from the perspective of Blizzard trying to hire a qualified author for a YA fiction comic series about a lesbian character doing superhero stuff, there is a tremendous amount of experience to recommend her. Being a queer woman is only part of her qualifications, just like being a black woman is only part of Nicky Drayden’s qualifications.

This perceived irrelevance of Tracer’s identity is a weakness of the story, like many of its other weaknesses. It’s not a natural or default outcome. The plot could have touched LGBTQ+ issues more prominently, it could have explicitly drawn a commonality between Tracer and Iggy/the other music lovers through a common sexuality, it could have spent time somewhere in the five issues to expand Emily’s character beyond a paper-thin love interest. I think the most compelling fact we learn about her from this series is that she owns the flat where she lives with Tracer.

It’s not a given that the story is never going to address sexual orientation or related issues—it was written that way. Given the background of the author, who spends a ton of time in her personal work covering LGBTQ+ issues and who is currently curating a line of comics from queer creators, that’s one of the series’ most surprising failures.

Overwatch’s MO seems to be depicting a future where relationships between any two people are equivalent in societal standing, which is great escapism.

But panels like these don’t happen by accident ( imgur__com/crBCOnt ). They happen because of a vested interest in depicting that hopeful future and because writers and artists who want to see that future get hired for the work. So the context of the world is there. They just didn’t push it further or explore the core relationship in Tracer’s world. I would argue that swapping Emily for a man would substantially weaken panels like the ones above because then the story would be saying “oh yeah queer folk are fine, and they’re fine exclusively in the background, never the hero”.

I was expecting a lot more on all fronts, including this one.

My original post was comparing Mariko Tamaki’s qualifications to those of the other guest authors mentioned, because the insinuation was that they had unique qualifications for writing Overwatch/scifi/superheroes/comics that she did not. And my argument is she absolutely does have the qualifications, and that from the outset (not our 20/20 hindsight) she looks like a really good choice for this series. That was my only objective.

On the result, I don’t think anyone disagrees that something went very wrong in the writers room for London Calling and that the other comics have lurched around in quality. The bummer for me is some of my favorite artstyles (London Calling, Searching) are tied to the worst writing. I don’t want them to stop trying. But as always, do better.

The past of these heroes has to be explained in details:
McCree and Ashe
Gérard and Amélie
Jack and Vincent
Torbjörn, Ingrid and Brigitte
Lena and Emily
Ana, Sam and Fareeha
Gabriel’s family
Shimada family
Going into the present and future they need to expand on:
Angela and Genji (these two flirt so much already so better they finish them on friends or lovers soon, I want them to talk less flirt but more casual)
And whatever else they have in their plans.

Gabriel and Jack are created to be total opposites of each other, from skin color through blood type to politic view and work operation. By this logic Gabriel has wife. If she’s stil alive, we don’t know, but I would like them to have a son who would be playable hero. There’s no son-father relationship in Overwatch. I believe they would behave similiar to Darth Vader and Luke to each other.

1 Like

I don’t see how bringing up Tracer’s orientation would make the story stronger. Iggy and the omnics aren’t persecuted because of their orientation, they’re persecuted because they’re omnics. The author’s background is irrelevant to the issues in this comic.

3 Likes

I strongly disagree with this comment. Likewise, I added a break to separate the three different parts of this comment that I am replying to.

Tracer’s identity is about as important to London Calling as Reaper’s is to Retribution, or Pharah’s is to Mission Statement. It’s not relevant. This is not a comic that is meant to touch on LGBTQ+ issues prominently or at all. If anything, that would have added even more clutter and plot threads that were arbitrarily picked up and dropped along with many of the other flaws in the OP.

Likewise, the whole “explicitly drawn commonality through a common sexuality” thing is entirely redundant because they already have an “explicitly drawn commonality through a common musical interest.” The point of that was that Tracer, a human, and Iggy, an omnic, are both fans of 20th century English rock music, which is what initially drew Tracer to becoming friends with Iggy and hanging out with her.

As for that final point… Even if they did flesh out Emily’s character, it doesn’t change the fact that Emily being female is irrelevant. We could have gotten an entire section about how Emily is a fan of punk rock that met Tracer at a concert, the two started dating and got closer over the years until they moved in together, and Emily was always proud but worried of her superhero girlfriend who travelled the world and put herself in harms way to save the day. And at the end of all that… Emily still could have just as easily been some guy named Emile who was 1:1 the same character outside gender and sexuality.

3 Likes

Sexuality is unimportant in this comic because it was written as unimportant. That’s the part you are missing. It could have been made an important part of the story. The plot didn’t have to be about music or police persecution of omnics. It didn’t even have to be Tracer’s story, it could have (and I think there’s a reasonable discussion you could have that it should have) just been about Iggy and her friends.

It’s weird that you are on board with criticism until it looks at the comic’s issues with representation. It’s weird that you insist that authors from the same community as a character don’t have any understanding that aids them in writing that character in an authentic way. This is the type of thinking that packs a court with white male judges then insists that court is impartial. An author’s background absolutely affects their creative work. See: H.P. Lovecraft, Ernest Hemingway, Maya Angelou, Alice Walker, W.E.B. Du Bois—no one is exempt from this. No single person can depict characters with a vastly different life experiences from their own with full accuracy. That’s why hiring people with diverse perspectives is super important when you’re working on an inherently diverse property like Overwatch.

It’s weird that you see Emily as interchangeable with a man, but you think that’s just the way things are instead of it being a flaw of the writing. That’s certainly not how it is in real life, though if you want to walk up to real-life lesbian couple and tell them “this wouldn’t be any different if one of you was a man” you are welcome to try that (please don’t, though, actually).

And if you happen to agree that’s something inappropriate to say to people irl, why do you think it’s okay to say to Emily? In part it might be because she’s not a fully realized character. She can’t be seen as a human being. She is window dressing that allows people (in this very thread, even) to ignore the nature of her relationship with Tracer.

Relationships aren’t “clutter”. It is not only possible to have a great story that interweaves relationships with subplots and big action scenes, but relationships are actually integral to great stories. People’s motivations arise out of their past and present relationships with other people. You don’t read about Tracer to learn how her pulse bomb works, you read about Tracer to find out how she reacts to what’s happening, why she does what she does, and who she takes action for. Who she loves, befriends, and makes enemies with. That’s the plot.

And for an Overwatch-related example, I got into the game because of the Dragons short. And it’s true, the Shimada dragon powers are pretty cool. But the reason I stayed wasn’t because of pyrotechnics, it was because the brothers have a really interesting relationship.

What did we want out of London Calling? I wanted to find something human in Tracer, the hero who’s always up-and-at-em—piercingly, endlessly good. I wanted to know what’s relatable and what’s exciting about her relationships with others. I wanted something to say when someone tells me she’s boring besides “well she was in a time machine accident once”.

And it was there, in those first two issues. I could see Tracer and her world starting to build up (and then at the end of the 2nd issue where Iggy has her first questionable reaction, I could see it start to dissipate). Learning a little more omnic lore would be cool, but I also appreciate deep dives into a hero and their relationships, like What You Left Behind.

In the end this series threw all its toys new and old into the air and let them fall where they may. It didn’t deliver as a promo for Overwatch because it didn’t give people something to latch onto. It didn’t deliver for story geeks because the new lore can’t even fill a thimble and what we learned about Tracer isn’t, I don’t think, going to radically change anyone’s view of her. She doesn’t contemplate (yellow bubble) the situation in consistent ways so I can’t even tell what Tracer thinks of herself. And this story also took its omnics-as-oppressed-group-standins imagery to gross levels of prominence before dropping that thread too.

It’s a mess, and what I’m talking about in this post is only part of its issues. But representation and relationships should not be ignored when discussing how this could have been a better story.