Combined with all the times where it directly addressed characters as "human" rather than by name, the maniacal laughter as it massacred GDI and Nod soldiers and leaders, referring to its actions by the term "culling" more than once (even in internal communications to its slaved cyborgs and machines), and literally spelling out that it was aiming for the extinction of its foes, it's safe to say that CABAL had developed a deep-rooted, speciecidal disdain for humans at some point, and may have even became disillusioned with Kane over his clear avoidance of what it deemed as the most "rational" solution to the problem at hand.īasically, a CABAL victory would've seen Earth converted into a Tiberium-saturated world that is inhabited by nothing other than mutated fauna and flora and CABAL's mindless cyborgs.Īnd maybe in his mind, His, and Kane's plans where one and the same? The only things it spared were the Tiberium-mutated wildlife. It was indiscriminately slaughtering not only both factions' troops but also unarmed civilians and converting all those that survived (and, if Cortez's words in Factory Recall's briefing are to be taken literally, even the dead) into cyborg soldiers slaved to its will. I would argue, however, that we never got to truly see what Cabal would've done, had he actually succeeded with his plans. and that's if you're willing to ignore the one time during the TS campaign when CABAL slipped and talked as if he is the one who's plan is being enacted, and not the player character (namely the mission selection voice-over for Free Rebel Commander), implying that even back then he was subtly glitching up. The fact that Kane laments that CABAL's legacy was "little more than wanton destruction" and "proof to the heretics that I am nothing but the madman they claim me to be" solidly indicates that CABAL was very off the mark, probably because it was never designed to operate without Kane providing crucial input. Kane had never done anything remotely similar even the Marked of Kane weren't meant to replace humanity (Kane explicitly refers to them as having "sacrificed their minds and bodies" for Nod's cause, which wouldn't make sense if they're his planned vision of human evolution), but as "ultimate" soldiers devoid of fear, the possibility of disloyalty, or any of the frailties innate to unaugmented humanity. No, CABAL's main failure was deciding that the best way to enact Kane's vision was to exterminate all humans and replace them with cyborgs, which he could easily create from corpses. Hell, Kane wouldn't need LEGION and his forces to sneak around if Slavik was still alive the man was utterly loyal to Kane and would've immediately submitted to him had he made his presence known.Īnd if that's not enough, the Intelligence Database has entries scattered across multiple sub-sections that explicitly refer to the Firestorm Crisis' events (though admittedly not by that name), even mentioning that GDI hunted for CABAL's remaining bunkers after said conflict. All the facts point to Slavik having been long dead by the time Kane activates LEGION to undertake the first act of the KW campaign Nod is shattered as a global threat and its "archives" of advanced technology destroyed, and GDI has appropriated an intact databank of Nod's stealth technology, neither of which would make sense at all if Slavik was still alive. Look up this page under the Kane's Wrath section, Background sub-section, the "Kane - A Spark." entry. The only failure Cabal did was that he couldn't predict Nod & GDI teaming up (herecy), which is what caused his defeat. I that he had designed to succeed where CABAL failed (part of whose failure was reinterpreting Kane's vision in ways he had never intended for it to). This could indeed be correct, but i'm willing to believe otherwise, we can't be sure unless kane directly stated that. Of course, that could be ignored alltogether if you don't consider tiberian twilight canon.Īnd in the KW scene you're referring to, he was talking about Nod being shattered after Marcion killed Slavik That caused a Schism inside the brotherhood of nod, and like the question i asked before, what would Kane have done if the brotherhood, or parts of it where to go against him? Yes, but do you remember in Tiberian Twilight where Kane allied with GDI? The Inner Circle only decided to deactivate CABAL after it repeatedly exhibited dangerous autonomy Where exactly is that stated? I tried looking at the Intelligence database but could not find anything. There are several excerpts in the C&C3 Intelligence Database where Kane explicitly says that CABAL was never meant to take control like that.
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Except the answer here isn’t to mediate between them – it’s to collect tiny, screaming slime-animals so that your chosen half can blend them into a potion and chemically destroy their rival. One early sidequest asks you to solve a conflict between two sides of one man’s personality – half of him is emotional, the other half logical. Just like its movie references, this feels like a kid-friendly fairytale with an appealingly dark heart. But spending even a little time in the game’s world – full of curiously elongated humans, glum fish-men, and a giant mayor with an evil twin sprouting out of his hat – reveals that it’s living up to that comparison in spirit, too. It’s impossible not to notice Lost In Random’s art style first, with its world not just looking like, but moving like its animated movie inspirations (and how many games can you say remind you of Nightmare Before Christmas more than anything else?). What follows is an escape from her assigned home, as Even meets a living, magic die (named Dicey, naturally) and they team up for a journey through all six of Random’s realms – two of which I had the chance to play through in a roughly three-hour hands-on. But the game’s hero, Even, begins to suspect the game may be rigged after her older sister Odd rolls a six and is ripped away from her family of Ones, and seemingly sends a ghostly call for help. Roll a one and you’ll be sent to the sunken slums of Onecroft, roll a six and you’re welcomed into the heavenly Sixtopia, with a different town for every number in between. Lost In Random’s world is essentially a feudal system built on dice rolls – every citizen throws a magic die on their twelfth birthday, with chance deciding their future. “But for me, the word remix means ‘alternative version.’ It is just another word… for a variation. “When I think of that word remix, it’s recycled, like trash,” she told Rolling Stone. Part of that is because Björk never saw remixes as a simple marketing gimmick: Her youthful study of classical music had taught her to think of remixes as a contemporary iteration of the longstanding concept of theme-and-variations. Today, the material gathered on her early remix collections-1996’s Telegram and also the lesser-known, cleverly (if not at all succinctly) titled The Best Mixes From the Album Debut for All the People Who Don't Buy White-Labels-holds up far better than the vast majority of remixes from that era, keenly balancing the songs’ essences with a restless experimental spirit. She may have come to electronic music as an outsider, but she had good instincts: For remixes, she avoided the usual suspects in favor of some of the most adventurous artists on the scene: the Black Dog, Andrew Weatherall’s Sabres of Paradise, the junglist Dillinja, even Mika Vainio, aka Ø, of Finland’s scorched-earth analog noiseniks Pan Sonic. Moving from Iceland to London, she threw herself into UK dance music, soaking up its club culture and collaborating with 808 State’s Graham Massey, Tricky, Howie B, and Talvin Singh, among others. On this side of the pond, some listeners were less thrilled with her new, electronic direction: Rolling Stone carped that Hooper had “sabotaged a ferociously iconoclastic talent with a phalanx of cheap electronic gimmickry,” adding, “Björk’s singular skills cry out for genuine band chemistry, and instead she gets Hooper’s Euro art-school schlock.”ījörk paid no heed to critics (including fellow Sugarcube Þór Eldon, now also her ex-husband) who were dismissive of her burgeoning interest in electronic music. Surprising even her record label, which scrambled to manufacture enough records to keep up with demand, it went all the way to No. It was a clean break, trading the Sugarcubes’ jangly alt-rock for the electronic sounds then coming out of the UK: house beats and basslines, trip-hop atmospheres, and the rippling textures of experimental techno, which she fleshed out with orchestral strings, big-band jazz, and a smattering of world music. (Her countrymen, meanwhile, had been listening to her since 1977, when she recorded her debut album-a collection of covers translated into Icelandic along with a few original songs, including an instrumental written by Björk herself- at the tender age of 11.)Īfter a few whirlwind years with the band, she struck out on her own with 1993’s Debut, enlisting Nellee Hooper of Soul II Soul and Massive Attack to co-produce the album. The Icelandic singer and composer had first appeared on many listeners’ radars in 1987, when the Sugarcubes’ surprise hit “Birthday” made actual stars out of a quintet whose entire raison d'être had been to lampoon pop. Trading the playful eclecticism of Debut and Post for distorted, hardscrabble electronic drums and warm, melancholy strings, it showcased a newly focused side of the musician while embracing all of her most provocative contradictions.īy 1997, when she released Homogenic, Björk had been a familiar face to pop fans for a decade. After the dewy naturalism of Debut’s sepia-toned portrait and the bullet-train rush of Post’s blurry postcard from the edge, McQueen and Nick Knight’s Homogenic cover showed Björk in a way viewers had never seen her before: at once ancient and futuristic, elegant and severe, part warrior queen and part cyborg-a picture of near-perfect symmetry rendered in colors of ice and obsidian and blood. 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