Abstract: Wet markets (濕貨市場) in virtual and real Hong Kong, which are often referred to as "street markets" (街市), are not just unique and eye-catching, but also reflecting the eating preference, pragmatism and ethnic origins of the people living in the city. This article will go through these distinctive features one by one.
In a few virtual Hong Kong in video games, you may come cross wet markets. The markets are where Hong Kong people buy fresh meat and produce, named "wet" because they require frequent washing to maintain good hygiene. These virtual markets altogether share a few unique and eye-catching characteristics just like the real counterparts. This is not a coincidence, but a result of the local people who buy or sell food there. In this article, we will go through these distinctive characteristics one by one, and more importantly the historical and cultural origins behind them.
Characteristics of Hong Kong wet markets
Traditionally located on streets
The wet markets of Hong Kong dated back to 1842 when British colonized Hong Kong and set up Victoria City in the current Central district. Population then grew inside and around the city, making daily markets profitable. Since then we started seeing wet markets on the streets of residential areas: Individuals opened stores on the street level of the residential buildings, set up stalls on the sides of streets, or just laid down goods on the ground and start selling (爾東, 許嘉汶, & 陳國豪, 2014).
A variety of daily necessities are for sales, but the most significant of them all are the meat and produce, freshly slaughtered and harvested every day. They are exactly what the majority Chinese customers wanted. In Chinese culture, freshness is the key for best possible texture and taste.
Being convenience and selling products that customers wanted, these outdoor "street markets" (街市) was, for a time, how new wet markets got started and why they became popular.
Famous wet markets of this kind include:
Graham Street (嘉咸街) of Central - one of the first wet markets established since Britain established the colony of Hong Kong in 1842
Chun Yeung Street (春秧街) in North Point - a wet market featuring Fujian food (due to immigrants from Fujian province of China after World War II) and double-decker trams running through it (more details)
Temple Street (廟街) in Yau Ma Tei - much more well-known for its night market with cooked food stalls, low-cost merchandises and fortune-telling (more details)
Yau Ma Tei Fruit Market (油麻地果欄) in Yau Ma Tei - a wholesale fruit market with several blocks of one or two story brick-and-stone historic buildings
They are the basis of the wet markets in the following games:
Art of Fighting 2 (SNK. Arcade et. al: 1994)
Street Fighter Alpha 2 (Capcom. Arcade et. al: 1996)
Real Bout Fatal Fury Special (SNK. Arcade et. al.: 1997)
Street Fighter III: 2nd Impact (Capcom. Arcade et. al.: 1997)
Shenmue II (Sega. Dreamcast: 2000, Xbox: 2001)
Bruce Lee: Quest of the Dragon (Universal Interactive. Xbox: 2002)
Stranglehold (Midway Games/Success. Microsoft Windows/PlayStation 3/Xbox 360: 2007)
Sleeping Dogs (Square Enix. Microsoft Windows/PlayStation 3/Xbox 360: 2012)
Resident Evil 6 (Capcom. Microsoft Windows/PlayStation 3/Xbox 360: 2012).
The street market in Graham Street. Source: Wikipedia
Green Market Quarter for meat and produce in Shenmue II
A tram moving inside the market in Chun Yeung Street. Source: Wikipedia
The Chinatown stage of Art of Fighting 2 featuring a tram running through a street market
A stage of Real Bout Fatal Fury Special featuring a tram running through a street market
The Hong Kong stage of Street Fighter III: 2nd impact featuring a tram running through a street market
The street market in Temple Street. Credit: Rachel Moore
A fruit stall in Temple Street. Credit: Marcelo Druck
Temple Street in Street Fighter Alpha 2. From left to right, there are a fortune-telling stall, a butcher shop (back) and produce stall (front), and several clothing stalls.
The market based on Yau Ma Tei Fruit Market in Resident Evil 6
Inside the real Yau Ma Tei Fruit Market. Credit: Chong Fat
Inside the street market in Resident Evil 6
The street market in Resident Evil 6
While the number and popularity of these street markets were growing, the government was also constructing standalone wet market halls (and later municipal services buildings which offer many other public services such as libraries and sports centers). The first few include Central Market (中環街市) and Wan Chai Market (灣仔街市) constructed in 1858 (爾東, 許嘉汶, & 陳國豪, 2014). One can find a market based on Wan Chai Market in Deus Ex (Eidos Interactive. Microsoft Windows/Mac OS/PlayStation 2: 2000).
The 2nd generation of Central Market hall, built in 1895. Source: Wikipedia
The current generation of Central Market hall, built in 1939. Now it is largely abandoned. Source: Wikipedia
The old Wan Chai Market hall in 2006. Source: Wikipedia
Wan Chai Market in Deus Ex
Another indoor market of this kind can be found in Resident Evil 6.
Inside the wet market hall of in Chris's campaign Chapter 1 of Resident Evil 6
The indoor market building in Resident Evil 6 (starting from 26:53)
For over a century, these indoor wet markets weren't that welcomed by many store owners. This was understandable as the separately-located market halls were never as convenient as the streets that citizens walked by every day, which means less customer traffic and hence poorer sales. It was until 1960s and 1970s when citizens finally got used to shop in these halls and store owners changed their mind (爾東, 許嘉汶, & 陳國豪, 2014).
Note that even though these wet markets aren't located along streets, many Hong Kong people and even the government are still referring them as "street markets" (街市) in Chinese, probably because the stores in these markets preserve a few features of the traditional street market stores.
Seas of red lampshades
Remember, fresh ingredients are why customers visit the wet markets. Shop owners are thus motivated to do whatever they can to highlight the freshness of their stocks. One impressive practice is perhaps the sea of red lampshades often found in nearly all wet markets. Used with high-power light bulbs, the lampshades create bright red light which shines on produce, fish and meat and makes them look fresher. The lampshades are so widely adopted that some designers even use them as an icon of the wet markets.
Red lampshades in a produce store of Sleeping Dogs
Red lampshades in a produce store of Resident Evil 6
Red lampshades in a seafood store of Resident Evil 6
Red lampshades in a butcher store of Resident Evil 6
Facebook profile picture of Sui Sai Wan Market
The art exhibition "The Street Market Symphony" (燈燈燈櫈 – 香港地道街市之旅) in 2012. See here for more images. The exhibition uses the red lampshade as the icon of the wet markets in Hong Kong.
Promotional video of the art exhibition "The Street Market Symphony"
Live seafood and chicken
To keep stocks as fresh as possible, some shop owners even keep live seafood and chicken in their stores and slaughter them as late as when customers make the purchase. Shopping a wet market is then like visiting a zoo and an aquarium combined!
Live chickens kept in cages in a real poultry shop. Credit: Rob Young
Live chickens left in cages, in the evacuated street market of Resident Evil 6
Live seafood in a real seafood store. Credit: Rob Chan
Live seafood in a seafood store of Shenmue II
Live seafood in a seafood store of Resident Evil 6
Stocks hung throughout the stores
For other kinds of stocks, shop owners often hang them up. This is a smart way to utilize every piece of limited store space to show off the variety and quality of goods.
Cooked meat hung in a real store in Hong Kong. Credit: Canadian Pacific
Cooked meat hung in a store of Shenmue II
Chicken body hung in a store of the street market in Bruce Lee: Quest of the Dragon
Raw and cooked pigs hung in a store in Stranglehold
Cooked meat hung in a store of Sleeping Dogs
Raw pork hung in real butcher shop
Raw pork hung in a butcher shop of Sleeping Dogs
Raw pork hung in a butcher shop of Resident Evil 6
Some shop owners even hang plastic bags and petty cash baskets/buckets over the air for their convenience.
Plastic bags and a bucket hung in a real seafood street market store
A pink petty cash bucket hung in a real produce store. Credit: Yu Hin Wong
A basket bung in a produce store of Shenmue II
Baskets hung in a produce store of Sleeping Dogs
A bucket hung in a butcher store of Resident Evil 6
Reuse of packaging materials
Packaging cardboard and polystyrene boards are often reused by shop owners to organize stocks and mark prices. This practice saves shop owners money and resource from making fancy ones. More importantly, the packaging materials are so abundant that the shop owners can pick up another one for replacement. Indeed, prices in the wet markets could fluctuate not only every day but also every hour of the day. In late evenings, shop owners often offer discounts in hope of selling all their stocks before the market closes for the day. You may even try to bargain for further cut-down.
Reuse of packaging materials (baskets, boxes) in a street market stall
Reuse of packaging materials (baskets, boxes) in a grocery store of Shenmue II
Reuse of packaging materials (polystyrene boxes) in a real produce store. Credit: inmediahk
The reuse of polystyrene boards to mark prices of seafood in a real seafood store
The reuse of polystyrene boards to mark prices of seafood in Resident Evil 6
Chinese traditions
The ethnic Chinese origin of the majority store owners affects how the stores look like in general. First, their store signs are in Chinese. Many of them are even in calligraphic style. Second, the fonts on the signs are usually in red which symbolizes fortune in traditional Chinese culture. What is more, inside the stores one may find posters with blessings written in Chinese. Sometimes, you may even see posters or altars of Chinese gods.
A wet market store sign in Sleeping Dogs
A wet market store sign of Resident Evil 6
The use of regular computer fonts (the first two characters from the left) and Chinese calligraphic fonts (the remaining five characters) in a real butcher shop
A label with Chinese blessing on the top of a door in a store of Shenmue II
A poster of Chinese God for fortune in a store in Resident Evil 6
Label with Chinese blessing in a real wet market store of Hong Kong
Challenges
Recently, wet markets in Hong Kong are facing fierce competition from supermarkets. Instead of a collection of small, independent shop owners, each supermarket is operated by a single management. It is thus easier for supermarkets to maintain overall cleanliness, a criterion that more and more shoppers care as living standard improves. In 2014, the share of the wet market in fresh food dropped to 40% (香港消費者委員會, 2014, January 14).
To survive, wet markets are innovating.
A notable pioneer is Tai Yuen Market (大元街市) in Tai Po. It got renewed in 2010. Besides renovations on infrastructures such as floor, wall, illumination, drainage and ventilation, there are new gimmicks including on-site cooking classes using the fresh produce bought in the market, the use of multi-purpose stored value smart cards for payment, the establishment of a roof garden using the leftover food as organic fertilizer for growing produces which are later sold in the market, and the hiring of service ambassadors to provide customers with daily shopping tips (LINK, 2012 May).
Four major innovations in the renewed Tai Yuen Market in 2012. Source: LINK
Later in 2015, the refreshed Siu Sai Wan Market (小西灣街市) introduced two other technological innovations: a vending machine for fruits, and the i-Chicken system which allows customers to examine and order live chicken located at another market remotely.
Demonstration of various technologies used in the refreshed Siu Sai Wan Market
These moves are driven by a profit-making private management firm LINK (領展) which have taken over the markets from the government. Mainly aiming for profit, the new management change has much more motivation to innovate.
The changes are reported to have brought customers back to the wet markets (東方日報, 2017, January 6). However, at the same time, management are alleged to have intervened how individual shops do their own business. While some traditional wet market features such as the red lampshades are not affected and even specially preserved, some others such as the calligraphic store signs are not with the same luck (周詠雯, 香港01, 2017, January 03). There are also complaints on the soaring rent: the average rent increased from 54.3 HKD per feet in 2007 to 70.0 HKD/feet in 2013 (爾東, 許嘉汶, & 陳國豪, 2014). Individuals which cannot afford the high rent have to leave. With fewer competitions from individuals, the provision of daily necessities and services are at risk of being monopolized by chain stores opened by large corporations. Those large corporations and lucky few surviving small individuals respond to the high rent by raising the price of their goods, which harms the customers.
The public has already noticed the problem and urged the government to do something. One proposal is to build new government-managed wet markets which can provide individuals with low-rent store locations.
Final Remarks
The local customers and shop owners of the wet markets have shaped the distinctive wet market features: With many Chinese customers who loves fresh meat and produces, the shop owners introduce a sea of lampshades, mini-aquariums and mini-zoos to the markets. To make best possible use of the limited store space and resource, the shop owners hang stocks and accessories here and there, and reuse wholesale packaging in their stores. The font and choice of color on the store signs reflect the ethnic root of the shop owners.
However, what we see today are subjected to change. With customers' increasing awareness on hygiene, traditional wet markets are losing their market share over supermarkets which are generally cleaner. In response, some wet markets have their management transferred to some profit-making corporation which are much more motivated to upgrade infrastructures and introduce new marketing gimmicks. While reported to have boosted customer traffic, the management switch appears to reduce the autonomy of individual small store owners. Sometimes it even becomes a matter of whether these owners could survive under soaring rent. The government is pressed to act to protect the interest of this portion of citizens.
Anyway, hope that next time when you visit a wet market, either real or virtual, you will have another level of appreciation.
References
東方日報. (2017, January 6). 青衣長發街市改名重開 檔口縮水租金加40%. Retrieved March 26, 2017, from http://hk.on.cc/hk/bkn/cnt/news/20170106/bkn-20170106151433985-0106_00822_001.html
周詠雯, 香港01. (2017, January 03). 領展換走小店手寫體招牌 彩園邨店主：逼我換仲要我俾錢. Retrieved February 28, 2017, from https://www.hk01.com/%E7%86%B1%E8%A9%B1/63619/%E9%A0%98%E5%B1%95%E6%8F%9B%E8%B5%B0%E5%B0%8F%E5%BA%97%E6%89%8B%E5%AF%AB%E9%AB%94%E6%8B%9B%E7%89%8C-%E5%BD%A9%E5%9C%92%E9%82%A8%E5%BA%97%E4%B8%BB-%E9%80%BC%E6%88%91%E6%8F%9B%E4%BB%B2%E8%A6%81%E6%88%91%E4%BF%BE%E9%8C%A2
香港消費者委員會. (2014, January 14). 超市一站式購物模式-對消費者影響的反思. . 《選擇》月刊, (447). Retrieved March 11, 2017, from https://www.consumer.org.hk/ws_chi/choice/447_06
爾東, 許嘉汶, & 陳國豪. (2014). 樂遊九龍街市. 香港: 明報出版社
LINK. (2012, May). Tai Yuen Market Modern Operation of the Fresh Market in the New Millennium All-Round Approach to Environmental Protection and Recycling. Retrieved February 28, 2017, from http://channel823.linkreit.com/201205/cover-story.html
"If not the most successful of all Michael Powell and Emeric Pressburger productions, A Matter of Life and Death is certainly one of the most ambitious"
-Antony Slide
When I rewatched A Matter of Life and Death (Powell & Pressburger, 1946) recently at the Curzon Bloomsbury, it was introduced by film lecturer Charles Drazin who said that it acts as a perfect compliment alongside It's A Wonderful Life (Capra, 1946)as a filmto watch during the festive season. This might seem like a strange thing to say, as there is no indication that A Matter of Life and Death, takes place during Christmas - but they're similar in that they explore the concept of a heavenly intervention in a person's life. Also, given that they were both released after the most deadly conflict in human history they both, more importantly demonstrated the importance of companionship between not just individuals, but also nations.
Not all surprising, given that that was the aim all along with A Matter of Life and Death, a film commissioned by the British government to help ease British-American relations. In it, British air force pilot Peter (David Niven) finds himself falling for American radio operator June (Kim Hunter) after only hearing her voice over the radio in his doomed flight. Peter is forced to bail out of his plane without a parachute and inexplicably survives after his messenger from heaven (Conductor 71, played by Marius Goring) fails to find him though the "ridiculous English climate", leaving heaven with one less resident than they were expecting. What follows is Peter's fight with those in heaven, as he appeals to be allowed to stay on Earth, with the help of June's doctor friend Reeves (Roger Livesey). Powell, Pressburger and legendary cinematographer Jack Cardiff differentiate between those scenes that take place in the clouds of heaven and those back on Earth by filming the former in black & white and the latter in Technicolour.
A man going to court in heaven to appeal for his right to live - quite a remarkable premise, yes. The creativity of the two directors, Moore argues is down to their fascination with the unnaturalness of theatricality; they both had 'utopian yearnings which was a product of their dislocation from the mainstream' (2005: 14). Thelma Shoonmaker has shed light on the ambition of Michael Powell's vision, saying that it was her husband's favourite film because he could be a "magician and let his imagination flourish". She has also mentioned in the documentary Cameraman: The Life and Work of Jack Cardiff (McCall, 2010) that, given the success and popularity of The Archers (Powell's production company), he and Pressburger could "get away with murder". The two had a great deal of freedom when making this picture, especially when considering the 'privations' (Christie, 2000: 30) of 1930s filmmaking. All of this contributes to the incredibly inventive premise and the equally inspired choice to alternate between colour and monochrome. While it is presented as a welcoming, positive and more than pleasant place, the fact that the heaven scenes are filmed in black and white in comparison to the vibrant multicoloured Earth scenes serves to accentuate all that Peter will have to give up if he loses his appeal. Conductor 71, in one great, self-referential and ad-libbed line even says "one is starved for Technicolour up there" when he visits Peter back on Earth.
Shooting began on the day of Japan's 1945 surrender; a coincidental and important fact to consider when looking at the political climate that the film was produced in. While there was obviously 'an element of cordiality between the allies who had fought the war together', the state of the world after those 6 years had left the fighting countries in an uneasy situation:
"The world had been broken, and putting it back together again was a difficult task. The relationships between nations were in a constant state of flux...Britain had been remarkably close to America during WWII. Notwithstanding this, Britain was deeply disappointed at the American response to a number of issues in the post-war period" - Richard Wevill
This is not to mention the perception of the overseas Americans within the UK during the war itself, where they were famously seen as "oversexed, overpaid and over here". The disagreements between the nations extended even to the production of the film, where in America it was renamed Stairway To Heaven out of fear that American audiences wouldn't want to watch a film with the word "death" in the title so soon after WWII. The two directors responded angrily, saying that they were trying to make a film about two worlds fighting for one man's life, and that it was indeed "a matter of life and death".
In the climatic court scene in heaven we see crowds of hundreds of people, made up of many different creeds and nationalities stretching back centuries, gathering to watch the outcome. Here, the indignation that Britain and America seem to harbour for each is evident for all to see. The case for the prosecution is led by Abraham Farlan (Raymond Massey), an American who died during the Revolutionary War. His resentment for the British is based on the hundreds of years of history between the two nations:
"When our men and women came to your country as allies, it was not to become your prisoners...I've been watching you English from upstairs, your wars, your politics, your busyness"
Reeves tries to argue that Peter does not represent the wrongdoing that the British have brought about to other countries, but Farlan counter agues by saying that "our ancestors had a deal in shaping us too". Each member of the jury (French, Chinese, Russian, Irish, Indian) too has their own pre-conceived opinions against the defence - to pick another jury, Farlan argues, is hopeless, as they will always be prejudiced against Britain no matter what country they are from. Reeves is not innocent of possessing an intolerance to America either; in one quite comical moment he expresses his distain for American culture by playing a piece of popular US music, to which he says that he has "no idea" what is being sung about. A new jury is picked - one made entirely of American citizens.
After the the co-operative effort to fight against their common enemy, Winston Churchil believed that 'the wartime alliance with Roosevelt was the political expression of an underlying cultural unity between Britain and America, which he sincerely regarded as the foundation for future peace and order' (Self, 2006: 1). Indeed, by the end, Reeves and Farlan have put aside the bigotry that characterised the court scene and are speaking to each other as equals, as two people who have realised that it's pointless to continue acting on their petty grievances. They are finally courteous to one another, even apologising when one accidentally interrupts the other. Whilst earlier, Farlan was convinced that nothing in the Universe was stronger than the law, he is now assured of the love that the Englishman Peter and the American June share - "on Earth, nothing is stronger than love". Christie says that the acceptance of both sides to put away their past differences and forge a new relationship is 'symbolised by an American jury entrusting June to Peter's lifetime care' (2000: 68).
After the the co-operative effort to fight against their common enemy, Winston Churchil believed that 'the wartime alliance with Roosevelt was the political expression of an underlying cultural unity between Britain and America, which he sincerely regarded as the foundation for future peace and order' (Self, 2006: 1). Indeed, by the end, Reeves and Farlan have put aside the bigotry that characterised the court scene and are speaking to each other as equals, as two people who have realised that it's pointless to continue acting on their petty grievances. They are finally courteous to one another, even apologising when one accidentally interrupts the other. Whilst earlier, Farlan was convinced that nothing in the Universe was stronger than the law, he is now assured of the love that the Englishman Peter and the American June share - "on Earth, nothing is stronger than love".
Other than tolerance and forgiveness, it seems that sacrifice is the main thematic thread of A Matter of Life and Death. In the end Peter is in fact willing to die in order to prove his love for June and she likewise; she steps onto the staircase leading to heaven in order to attempt to take his place. Thelma Shoonmaker herself has even remarked that such a choice is something that her and Michael Powell would have been prepared to make for one another. Not to mention, Doctor Reeves (although unintentionally) dies, which allows him to act as Peter's defence council in heaven - without whom Peter would have had no chance.
The selflessness of individuals under wartime environments was also explored by Victor Fleming in the 1943 film A Guy Named Joe, which too dealt with the idea of the supernatural, of romance in the aftermath of a protagonist's death. For a world traumatised by combat, they both assured audiences that the afterlife was waiting for those who had perished, an outlook that became useful in the face of all the 'widespread mourning and grieving' (Striner, 2011: 58). Spencer Tracy's Pete in A Guy Named Joe deliberately sacrifices his own fighter plane to destroy a German boat - like David Nivenhe accepts his death and the fact that he's leaving behind those whom he loves. Sacrifice, is of course fundamentally what war is; just as these two people from different nations are willing to die for one another, the selflessness of those who perished in the six years prior would have been etched into the minds of those who saw the film upon release:
"16 million human lives have been sacrificed to overthrow one man and his lunatic ideas...Out of this enormous holocaust, Emeric and I were trying to create a comedy of titanic size and energy" - Michael Powell
In the end, the message of cooperation and the collaborative effort of nations working together is made clear. Drazin points out on his Curzon blog, that those involved in the production of the film itself were as diverse as those who witness the court appeal in heaven: 'Powell was an Englishman who served his apprenticeship in the cinema at the Victorine Studios in Nice, France, under the guidance of Irish-born director Rex Ingram who had first made his name in America. Emeric Pressburger was a Hungarian Jew who had been a screenwriter at UFA in Germany until the rise of Nazism in the early 1930s turned him into a refugee. A major collaborator on A Matter of Life and Death – the man who built Heaven – was the great German art director Alfred Junge, who had designed most of their previous films' (2017). Powell and Pressburger created not just a love story, but a film that was a cry for compassion and open mindedness.
"Every time I saw The Archers logo, I knew I was in for something special" - Martin Scorsese
References:
Christie, I. 2000. A Matter of Life and Death. London: BFI
Drazin, C. (December 7, 2017) 'A Matter of Life and Death: A Warning from Heaven'. Curzonblog. [Online] Available at: http://www.curzonblog.com/all-posts/2017/12/6/a-matter-of-life-and-death-a-warning-from-heaven
Moor, A. 2005. Powell and Pressburger: A Cinema of Magic Spaces. New York: IB Tauris.
Powell, M. 1986. A Life in Movies. Portsmouth: William Heinemann Ltd.
Self, R. 2006. Britain, America and the War Debt Controversy: The Economic Diplomacy of an Unspecial Relationship. New York: Routledge.
Striner, R. 2011. Supernatural Romance in Film: Tales of Love, Death and the Afterlife. North Caroline: McFarland & Company.
Wevill, R. 2011. Britain and America After World War II: Bilateral Relations and the Beginning of the Cold War. New York: IB Tauris.
Mass Effect's greatest strength is its setting. It presents a universe of staggering diversity and complexity. It is well-populated, presenting your Commander Shepard with a wide range of different situations to respond to and to shape your character, which is integral to Mass Effect's character development and entire narrative system. But that's not the only way that the Mass Effect universe makes the game better. It also connects Mass Effect by connecting it to many of the great science fiction universes in the history of the genre, and it does so by moving outside the normal SF setting used by video games.
Most science fiction games use this as a premise: humanity is starting to explore beyond their normal boundaries. They come across something alien, totally unexpected, frightening, and most of all, dangerous. For example, Gears Of War does not take place on Earth specifically, but it is humanity's push towards the frontiers of their domain that leads to the disaster of Emergence Day. In Halo, initial exploration into space becomes an all-out war with the Covenant followed quickly by the Flood. Or, in the Half-Life series, experiments in dimensional travel lead to war with an alien invasion force.
These can all be summarized as "First contact goes horribly wrong" in one sense, but in another, it's even simpler: most science fiction video games take their cues from the Alien film series. In the first Alien, the main character, Ripley, is the member of an exploratory spaceship which uncovers an alien killing machine, forcing her to survive by her wits and whatever is available. The discovery of horrifying, murderous alien life is a staple of games, from Doom to Half-Life to Dead Space.
In the sequel, Aliens, Ripley returns to the planet which housed the aliens, with a squad of elite soldiers. For all their bravado, the squad is quickly decimated, forcing the smaller and smaller number of survivors into increasingly desperate measures, ending with Ripley confronting the alien queen by herself. The initially militaristic opening with an increasing focus on individual heroics against an implacable, dominant alien force brings to mind the original Halo and Gears Of War. There are no negotiations, no conversations. The world is filled with violence and desperate attempts to survive.
Mass Effect's universe, on the other hand, is filled with a range of aliens willing to negotiate, converse, and perhaps fight as a last resort. The big enemies of the game, the Reapers, are totally alien in this world, as they exist only to destroy. Commander Shepard great political struggle over the course of two games is convincing the political leaders of the galaxy that these enemies - evil incarnate - actually exist. Everyone else is used to problems with political solutions.
This is what separates Mass Effect from the vast majority of science fiction games, and makes it comparable to some of the best science fiction settings of all time The vibrant universe of Mass Effect may seem initially comparable to the two great science fiction properties, Star Wars and Star Trek. But Mass Effect'ssetting is different from those two. Most Star Trek stories are built around exploration, with space as "the final frontier". Meanwhile, Star Wars presents a universe that has always been, with humans as the dominant species of the galaxy. Mass Effect portrays humans as late arrivals to the galactic scene - but arrivals which threaten a precarious balance of power.
In the 1980s and early 1990s, a newer style of science fiction epic became commonplace in literature. In David Brin's 1983 novel Startide Rising, humans are a "wolfling" race, which developed intelligence and interstellar travel on its own, causing them to be frowned upon by a conservative galactic order. When a human ship discovers a ancient artifact believed to be related to the "Forerunners", perhaps the original spacefaring race in the galaxy, it triggers a massive galactic conflict, as the humans try desperately to survive, build alliances, and discover what the hell the artifact means. Sound familiar? Startide Rising seems to wield the same crucial influence on Mass Effect that George R.R. Martin's A Song of Ice & Fire is to Bioware's Dragon Age.
Startide Rising isn't the only piece of classic science fiction literature to have echoes in Mass Effect. In Sheri S. Tepper's 1989 novel Grass, a huge, living plant-like organism exerts mental control over the world's colonists, much like Mass Effect's Thorian. And the climactic scene where the Reaper Sovereign reveals the AI plans, motivations, and sheer disdain for life is reminiscent of the Technocore from Dan Simmons' classic novel Hyperion. Finally, the scenes on the Citadel that comprise much of the first portion of the game seem much like the most literary of science fiction television shows, Babylon 5, a show whose humans also upset the galactic balance of power, and started working to make it better. In Mass Effect II, the centrality of the Cerberus organization and the game's darker, more conspiratorial tone aligns it with shifts in the science fiction styles of the 1990s, much like the hopefulness of Star Trek: The Next Generation morphed into the grittier Deep Space 9.
Part of what makes all of these stories so successful is that they have a history, a feeling that this is a wider universe. Mass Effect does better than most games at making its setting feel lived-in. The First Contact War between the humans and turians provides some background, but Mass Effect does best when describing the history of the tough, violent krogan peoples. The krogan history - their uplift (a term taken from Startide Rising), their defeat of the rachni, their rapid and dangerous expansion, and their depressing defeat at the hands of a fertility-suppressing bioweapon - provides many of the best moments in both games, most notably the assault on Saren's breeding pens in the first game and Mordin's loyalty quest in Mass Effect II.
But the Mass Effect games' storylines generally don't flow from the dense, varied history of the universe as well as the krogan-based plots do. None of the three major council races, the asari, salarian, or turian races have anywhere near as complex history as the krogan. This is the main thing preventing Mass Effect's universe from having the strength of the classic SF literature stories. Yet Mass Effect is remarkably successful at evoking those stories even if it doesn't quite match them. Its universe is one of the most successful settings in mainstream game history, but still behind the very best of science fiction settings across different mediums.
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As you may have noticed, I sent you an email from your account.
This means that I have full access to your account.
I've been watching you for a few months now.
The fact is that you were infected with malware through an adult site that you visited.
If you are not familiar with this, I will explain.
Trojan Virus gives me full access and control over a computer or other device.
This means that I can see everything on your screen, turn on the camera and microphone, but you do not know about it.
I also have access to all your contacts and all your correspondence.
Why your antivirus did not detect malware?
Answer: My malware uses the driver, I update its signatures every 4 hours so that your antivirus is silent.
I made a video showing how you satisfy yourself in the left half of the screen, and in the right half you see the video that you watched.
With one click of the mouse, I can send this video to all your emails and contacts on social networks.
I can also post access to all your e-mail correspondence and messengers that you use.
If you want to prevent this,
transfer the amount of $713 to my bitcoin address (if you do not know how to do this, write to Google: "Buy Bitcoin").
My bitcoin address (BTC Wallet) is: 1NL9MTdnTxsVxEg9nHeY5oiw5U9Mxzsh8v
After receiving the payment, I will delete the video and you will never hear me again.
I give you 48 hours to pay.
I have a notice reading this letter, and the timer will work when you see this letter.
Filing a complaint somewhere does not make sense because this email cannot be tracked like my bitcoin address.
I do not make any mistakes.
If I find that you have shared this message with someone else, the video will be immediately distributed.
In a few virtual Hong Kong in video games, you may come cross wet markets. The markets are where Hong Kong people buy fresh meat and produce, named "wet" because they require frequent washing to maintain good hygiene. These virtual markets altogether share a few unique and eye-catching characteristics just like the real counterparts. This is not a coincidence, but a result of the local people who buy or sell food there. In this article, we will go through these distinctive characteristics one by one, and more importantly the historical and cultural origins behind them. 
