The EVE battle logs: Going To War With Goonwaffe

Phil Hartup becomes the first embedded reporter in the largest virtual war the world has ever seen.

On Sunday 28 July, the universe of EVE: Online experienced the largest battle it had ever seen. Almost 3,000 ships were destroyed in a clash between the two corporations which dominate the game. But the battle wasn't the beginning of the war; instead, it was the dying embers of a protracted struggle. Phil Hartup has been embedded within CFC for the last month. These are his reports from the front-line of the biggest virtual war the world has ever seen.

Like many men with too much time on their hands in the early part of the twenty-first century I have dabbled in the dark arts of the MMORPG, the Massive Multiplayer Online Role Playing Game. Of course very few of these are actually massive, most relying on small isolated zones with limited numbers of players in called instances. Fewer still involve anything like what anybody who has ever rolled a twenty-sided die in anger would consider role-playing. Some barely qualify as a game, becoming arbitrary time-sinks, boondoggles for the age of the internet, absorbing time and enthusiasm like great soulless sponges. But not EVE: Online. EVE is the real deal.

The best way to think of EVE is as three distinct games, each one based around being the captain of a spaceship and each one defined by the level of in-game security present in the areas in which it is played. In Empire space, which is the most secure, EVE is a game of commerce, of adventure, of hunting pirates, buying spaceships and flying around with your friends, safe in the knowledge that you are probably not going to be killed in an unpredictable and violent fashion. In low security space, known as Lowsec, things are a lot more dangerous for players. Gangs of other players hunt these regions, not necessarily in large numbers, but in this cut and thrust world of do unto others and cheese it with their cargo the game is played at arguably its highest level in terms of player skill and risk. Lastly there are the lawless areas, Nullsec, where alliances of player groups numbering thousands do battle over territory, bragging rights and personal grudges.

EVE: Online is now a little over a decade old with a subscription base that has grown over the years though which has never been exactly high, in contrast to most MMORPGs which start high, drop around 75 per cent after the first month, then quietly go free to play a year later. Even the fact that EVE maintains a subscription model speaks to its somewhat anachronistic nature, although it has begun to allow players to buy in game money, called ISK, with real money via game time tokens. Many players who have dipped into MMORPGs will have given EVE a try at some point over the years though most don’t stick around for too long. It is an old school game, cutting the player loose in a hostile universe with no direction, no planned level path, and most importantly, a user interface that feels like the bastard child of a scientific calculator and a pager.

In fairness to the user interface, it is ugly but it is powerful. Like a mad scientist’s mutant lackey the EVE interface will, once sufficiently tamed, explain everything that is happening around you, allow you to easily fly your ship and smite your enemies, even allow you to browse the internet, run voice communications with other players, send emails within game and spend all your hard earned money on shiny new spaceships. It is a loyal beast, just try not to actually look at it.

I have played EVE off and on since 2004, mostly off, keeping an eye on it but seldom playing. I watched the old alliances rise and fall, I watched the emergence of the Goons, a horde of players out of the Something Awful forums, tearing through the game in cheap ships, showing no respect to anybody and being generally hated for it. I watched them grow over the years. Watched attempts to stamp them out and even went to war with them myself in one of my earlier groups in the game, although saw no combat. Despite all efforts by the old guard and elite they kept going. They grew and grew, tearing down the old order, to an extent replacing it.

My experience with Goons in other games was uniformly negative, though always second hand. Nobody had a good word to say about any of them, and nobody ever seemed to talk to them. I was told they were ill mannered teenagers, the worst Xbox Live ranting kiddie stereotype you could imagine. They were a horde of mouth breathing idiots who only played the game to ruin it for other people, the barbarians at the gate, and the end of gaming civilisation. They were the other, the savages, but damn it all, they seemed to know what they were doing.

With that in mind, when the opportunity to join what is now called Goonwaffe and ride along with them and the rest of the Clusterfuck Coalition (CFC) during their, at the time, impending invasion of The Fountain region of the game appeared, seemed rude not to go.

Joining Goon is a remarkably sophisticated process, because it needs to be. I’ve seen plenty of gaming clans struggle under the weight of administration just to keep a few dozen players, a web forum and a voice comms server ticking over. Goonwaffe has thousands of members so recruitment, training, communications in and out of the game, forum admin, tech support, even security are all major concerns. You can’t just round up thousands of players, point them at the bad guys and type go in local chat, at least not anymore.

Getting squared away on the assorted secure communications programs, the Pidgin server, the forums, this all took place very quickly, the process largely automated, backed up by a brusque yet effective tech support team who consider the capacity to properly set up your various permissions and peripheral software programs as a kind of final entry exam. Considering this is a group that is based on volunteers everything about it was slick, polished and professional. No corners cut here, like the football fans that make it to every away game, braving Russian cold and Italian knives, many EVE players take their game very seriously.

Finally ending up in the recruit forum with a gaggle of other new and equally starry eyed players I felt strange, like I had been thoroughly processed, even absorbed. I have experienced friendlier welcomes to gaming clans, but there’s nothing like the feeling of being passed through automated scrutiny and acknowledged, accepted and issued the appropriate clearances to make you feel officially at home, recognised by the system. My character in game got the mail a few minutes later, the offer to join, one of the few parts of the process that has to be done manually by another player. Like magic, the tags appear on my character. It was official, I was a Goon.

Tomorrow: battle begins.

A fleet attacks. Photograph: CCP

Phil Hartup is a freelance journalist with an interest in video gaming and culture

Show Hide image

Defining The Defenders: the long history of the superhero team-up

Netflix's new show draws on an established traditon of bringing together disparate characters.

Today Marvel’s The Defenders dropped worldwide. It’s the culmination of Marvel Studios’ interlinked series for Netflix, and all episodes will be available simultaneously as is the streaming services’ wont.

The Defenders, and the Netflix series that have preceded it, seem modelled on how the Marvel Cinematic Universe films have worked in multiplexes. At least superficially. Characters get their own solo films/series, which become increasingly interlinked over time, before all featuring together in an onscreen ‘team up’. Here, they combine against a threat greater than any they could plausibly win against on their own, sparring and generating alliances, friendships and even enmities in the process.

This structure, of course, is Marvel’s film and TV projects aping their source material. Marvel’s comics, and superhero comics more generally, have long relished the "team up" and the "super team". The use of this approach by Marvel’s other media ventures is intuitively right, allowing the mass audience for film and television to experience one of the specific pleasures of how superhero comics work in the characters’ new medium.

The concept of the super team goes back a long way. The Justice Society of America, from Marvel’s Distinguished Competition, is usually considered the first. They debuted in All-Star Comics #3 (1940) and the team consisted of the Flash (the Jay Garrick version, Flash TV fans), Green Lantern, Hawkman, and now lesser known characters like Hour-Man, the Sandman (not the Neil Gaiman one), the Atom, The Spectre and Doctor Fate. Within a few issues Wonder Woman would join: as secretary. Because it was the 1940s.

What’s interesting about this initial super team is that half of these characters were published by All-American Comics (who actually published All-Star) and half by DC Comics themselves, making this an inter-company crossover. (The companies would later merge). It also used to be claimed as the first example of characters created separately, and with no intention of them being connected, interacting. It isn’t. There are countless examples in the pulp fictions of the late nineteenth century, but the claim stood for so long because it felt right that the original super team should be the source of such meta-fictional innovation.

The Defenders were created much later in comics history and first appeared in 1971’s Marvel Feature #1. The team, though, had its origins in the "Titans Three" an informal grouping of heroes who appeared in a three part story serialised across Doctor Strange #183 (November 1969), Sub-Mariner #22 (February 1970), and The Incredible Hulk #126 (April 1970).

All three of those comics were written by Roy Thomas. Caught on the hop by the sudden cancellation of Doctor Strange (#183 was the final issue), he wrapped up ongoing plotlines from the cancelled comic in other series he scripted, bringing the now title-less Strange into those other series in the process. A couple more appearances of the group together followed, before the team was formally named in the aforementioned Marvel Feature #1.

Dr Strange. The Sub-Mariner. The Incredible Hulk. It’s quite likely that anyone reading this who is only familiar with the publicity for Netflix’s The Defenders would be surprised by that roster of headline characters. (And that’s assuming they’re even familiar with Namor the Sub-Mariner, a character of 1939 vintage who has not yet reached the MCU.) This is a radically different group to Daredevil, Jessica Jones (a character not even created until the 21st century), Luke Cage and Iron Fist, the stars of the current TV series. None of the telly team are characters a Marvel zombie would associate with The Defenders, although Iron Fist has been a very occasional member of the team’s roster, as has Luke Cage. (In which context, it’s unfortunate that Iron Fist has been the least liked of Netflix’s series, with a mere 17 per cent approval on Rotten Tomatoes.)

The complete absence of all three of the original Defenders from its television incarnation could be seen as an odd decision. Neither Benedict Cumberbatch’s Steven Strange nor Mark Ruffalo’s Bruce Banner are expected to turn up, even for cameos. Marvel Studios has policed a strict division between its Netflix series and its cinematic outings, despite announcing them as being set in the same "continuity". The fourth "classic" Defender is even less likely to turn up. The Silver Surfer (who joined the team in 1972, less than a year after it was formed) is, due to some bad deal making in the 90s, off limits to the MCU. His film rights sit with Fox, who utilised him in the rightly all but forgotten Fantastic Four: Rise of the Silver Surfer (2007). 

One of the reasonably consistent features of previous incarnations of The Defenders is that the characters have generally faced mystical threats. They first teamed up to fight monsters from HP Lovecraft’s Cthulhu Mythos, and generally their antagonists have operated on that kind of scale. With Stephen Strange in the gang, that makes sense. You don’t need the sorcerer supreme to take out organised crime. But organised crime is largely what you’d expect Daredevil, Luke Cage, Jessica Jones and Iron Fist to take on, especially based on the Netflix versions of the characters. All four are "street-level" heroes, operating in New York, interacting with characters like murderous vigilante The Punisher and Kingpin of Crime Wilson Fisk. Perhaps splitting the difference, their team up series will see them take on The Hand. This is a ninja organisation, with mystical origins, that is nevertheless involved in organised crime and can be presented, as it has been so far for Netflix, within the context of crime stories.

Marvel’s Chief Creative Officer Joe Quesada has defended The Defenders being The Defenders by pointing out that the original team are largely unknown outside comics fandom, and their name means nothing to the public at large. (Although they have, of course, heard of all three of its constituent members.) Of course, for some this might sensible provoke the question "Why use it then?" What is this series called The Defenders at all?

The (original) Defenders were seen as a "non-team", a phrase occasionally used in the pages of their appearances. There was something deconstructive about this kind of team up. It was the pairing of characters who were unsuited to working, even to appearing, together and who would really rather not. (They had, after all, been brought together in the first place simply because Roy Thomas happened to write their separate titles.) The stories told with the group in some ways challenged and confronted the cliches of the decades old form that had begun back in All-Star Comics #3.

The line-up, and tone, of Netflix’s Defenders more resembles that of another, deliberately slightly interrogative non-team, that of the short-lived Marvel Knights book of 2000-2001. This did share The Defenders somewhat abstract definition of "team", featuring characters who didn’t like each other and didn’t want to work together, albeit without any mystical element to how they were brought together. Marvel Knights was also, in theory, the flagship of the line of the same name, at the time edited by... Joe Quesada. Hmm.

In recent years, Marvel have frequently cheerfully remodelled their comics - the original medium for almost all their characters - in order to incorporate changes and innovations pioneered as part of their film and television projects. Remixing their characters and the way they are grouped together in response to the success of their screen empire. The Guardians of the Galaxy, for example, have become more prominent in the comics, while characters whose film rights lie with film companies other than Marvel’s own, such as the aforementioned Fantastic Four, have been pushed to the margins. Accordingly, this August sees the launch of a new The Defenders title, featuring the lineup of characters from the television series.

Some loyal comics readers see this a case of the tail wagging the dog. Others might like to take notice of the metaphor used by comics writer Grant Morrison in his 2011 book SuperGods: Our World In The Age Of The Superhero. There, Morrison argued that comic books, while the medium in which these characters were created, was essentially the discarded booster section of the rocket in which they had been fired into the public consciousness, reaching vastly greater audiences in the process. 

“That’s not The Defenders,” commented a friend of mine on seeing a publicity photograph for the series a few weeks ago. It is now, mate. It is now.