The way to the arena
It all began with the promise of efficiency. When, in the early 21st century, more and more government tasks were outsourced to private actors, the economization of human coexistence seemed to be a pragmatic response to excessive demands, resource scarcity, and political paralysis. Companies took over healthcare, security, infrastructure – faster, cheaper, seemingly better. Governments lagged behind until they were ultimately nothing more than formal shells.
Wherever resistance arose, it was crushed. The African War marked the final turning point. What began as a humanitarian intervention ended in decades of trench warfare against local movements that opposed the control of the Twelve. When a new virus rendered the continent uninhabitable, sparing only the international troops, the resistance collapsed. Africa was abandoned. With it disappeared the illusion that power still had anything to do with consent.
The corporations turned their attention outward. Mars became the next project: initially as a symbol of progress, but soon as an industrial reservoir for production, penal labor, and all those who no longer had a place on Earth. Living conditions in the early colonies were harsh, dehumanizing, and strictly controlled. Long working days, isolation, and a complete lack of prospects defined everyday life.
This environment gave rise to the first illegal fights. Workers built primitive robots out of scrap metal and pitted them against each other – as a distraction, an outlet, a last vestige of self-determination. Migun tried to stop the fights, but failed. They were too important for the morale of the colonies. Ultimately, what could not be eradicated was regulated. Forbidden games became organized competitions. Improvised arenas became stadiums. Deathmatch was born.
Over time, the sport changed, and with it, the world. Humans entered the arena, first underground, then officially. Cyborgs followed, their bodies serving as both weapons and testing grounds. Deathmatch became bloodier, more spectacular, and more profitable. Companies used the arenas as advertising space, as a testing ground, and as an instrument of control. Heroes were created, traded, and forgotten. Violence became a commodity.
Finally, in the year 2250, a new player entered the scene. Contact with the Aiudi, an alien species fleeing the destruction of their home planet, shook up the existing balance of power. The Aiudi brought with them their own culture of warfare, alien technologies, and a sense of honor that viewed arena combat not as entertainment, but as a test. They fought – and they stayed.
Today, Deathmatch is more than just a sport. It is a stage for political interests, technological breakthroughs, and cultural conflicts. Robots without fear, humans without a future, cyborgs caught between hope and exploitation, and alien warriors with their own agendas clash in the arenas. Deathmatch shows the world what it has become – and what it is willing to celebrate.