#even if this means hank will absolutely despise connor

[fluffykiddosstuff]

what is loves ? (nines x gn! reader part2)

Okay so in this story Connor and Gavin are a couple :3

L/n : last name

______

Nines pov :

As I sent the message to Connor, I waited a bit before getting a response

C : what do you mean?

N : it's for the case, maybe it was something love related so I need to gather more information, detective l/n left so I can't ask them.

It was half true actually, but Connor didn't needed to know what happened with his software earlier.

C : can't you research it?

N : I did but the definition is incomplete and doesn't help, why would humans have butterflies in the stomach? Can androids get them too?

C : it's an analogy - anyway, in some cases, love can make an another person do crazy things like kidnapping their lover so they can only see them, killing an "opponent" to keep them or even killing the loved one if they can't have them, do you understand?

N : yes I think so.. It's unpredictable like deviants right? But why people like love so much if it hurts?

C : well.. Nothing is all black or white in a relationship, it's more Grey, and sometimes it gets darker or lighter, for example, when hank found out I was dating Gavin, he got absolutely crazy and pursued him in all of the office, hank and I have a "father and son" relationship, he thought he meant well but ended up hurting my feelings, so he apologized and accepted Gavin, well sort off.

N : I think I understand better now, thank you

C : no problem, good night

Many days passed since this night but the "feelings" Nines was experiencing, we're getting bigger and bigger every time something happens between both of you. Even if it was something very little. On the good way, you all almost got the case clear, you all just needed to go to the suspects house and interrogate them, easy right?

Nines knocked on the door, Connor was on his left while you and Gavin were behind them, hank being at the station for something else and would come later.

"anybody home!?" screamed the Rk900, at first nothing, but you all heard shuffling inside, Gavin drew his pistol out and so did you, the androids broke the door and you all started to search the house after your suspect.

You got downstairs when Gavin searched at the kitchen, nines got into the rooms and Connor made sure the suspect couldn't get away, there was a 50/50 chance that the suspect would be armed, but oh nines was wrong to let you go down there alone. The three of them heard a loud scream and shuffling coming from the basement, the upgraded android was faster to get down and reach to you, there was no much light but with his advanced optics, he could see many pictures on a board, some crossed with a red X or a big circle also in red, all of them being android-human couples. The next one was a picture of you and him, going out in the park and talking about some personal stuff, when did that happened? Why didn't he noticed him take a picture?

But that wasn't the more alarming thing, he had you under his gun, yours being far away behind, he scanned you and saw you had a broken arm, due to fighting against this monster. His fists clenched and he lowly cursed.

"STAY WHERE YOU ARE OR I'LL SHOOT THEM!"

Nines searched all the possibilities, you had a chance of survival of 20%, he had to save you. He couldn't lose you.

He contacted Connor to tell him to stay upstairs and call backups, as much as he despised this man, he tried to talk with him to gain more time.

"why do you do this, killing these couples?"

"IT'S NONE OF YOUR DAMN BUISNESS GOD DAMN MACHINE!"

Chance of survival : 10% ⬇️

"we aren't even a couple, juste coworkers, if you hate so much androids I'm the one you should kill not them."

"Nines no-"

Chance of survival 30% ⬆️

"yeah you are right, androids always fucks up everything! I had a wife, and kids! This bitch cheated on me with him! Heck even my kids doesn't speak to me anymore saying he is a better dad than I am!"

"I-I understand your hatred towards us but why do you kill the humans too? Don't you want to protect your own r-race?" you managed to say, even if it was hard to breathe with his arm around your throat.

"I-I guess I wanted to get rid of the people who thought they were alive, so no one would think like them anymore and see they were only machines.. Only big ass roombas doing the chores!"

Chance of surviving 50% ⬆️

you started to cry, having the man's arm under your throat and all the  stress was making you crazy, you  looked at nines with pleading eyes.

"i'll take their place as the hostage, let them go"

the man grinned and looked at nines 

" oh no they are more valuable than you, you can get easily replaced right ? they can't"

that's when a sound was heard behind the man's head, a pistol where you take the safety off, there  was hank, he appeard through the big window in the basement and stood behind the threat.

"hands where i can see them, no sudden moves" 

hank got upstairs with him so the other officers could take care of him. you dropped on your knees, crying, the rk900 came closer and stroked your cheeks, taking the tears away.

" are you alright ? no other injuries ?"

"no i'm okay..thank you nines, you saved me.."

the android's LED spinned yellow and red at your words, why did you thanked him, it's hank who saved you after all.

"i didn't do anything i-"

"no that's not true, you are the one who runned when i screamed, who gained more time and contacted the others, if you weren't there, i would either be dead or a threat to the others, so thank you for that"

you took his hands in yours, he then did the thing you didn't know he could do, he hugged you, tightly but not too tight to cause any discomfort to your broken arm. tears of joy started to make their way on your cheeks and you hugged back.

"why did you wanted to sacrifice yourself nines ? i want to know.." you looked at him in concern

"because..you are the most amazing human i know, i can't take it when you are hurt, and i can be easily replaced after all"

"no don't say that i..i don't want an another rk900 sent here i...i just want you"

you stroked his cheek and started to get closer, nines came closer and kissed you on the lips tenderly. you separated and connected your foreheads together.

"you broke protocol didn't you ?"

"yes, only for you"

that's when the basement opened to a worried connor who smiled when he saw both of you in each others arms, the funny part was when gavin poked his head to see what was going on and screamed at the top of his lungs :

"ARE YOU GUYS GONNA COMME OUTTA HERE OR FUCK ALREADY !?"

you both laughed as you got upstairs, nines putted you in the ambulance and waved as you got away to get taken care of, he turned to a smiling connor holding his boyfriend hand, who was muttering god knows what and was red as a tomato.

"i wish you to be happy nines"

both of the rk units smiled and the predecessor got in a car to go back to the dpd, making reports with his partner, the rk900 looked at his hands then at the sky, smiling

many adventures awaits both of you, hopefully for the best

-------------------

(1314 words)

[rk1kheadcanons]

Concept: Sumo absolutely despises Markus. There is no real reason for it; Sumo never hurts Markus or attacks him or anything, either. But everytime Markus enters the house,

Ok this is cute and I'm worried this may get away from me. If it isn't what you had in mind please let me know and I'll do another one that fits with your ask better!

Connor and Sumo post-revolution, become attached at the hip. They go on walks together, torture a long suffering Hank together, and often cuddle when the stress becomes too much; such as a case makes Connor upset or Sumo breaks his favorite toy. Sumo is his dog and Connor is his boy. It also acts as a good way for Connor to learn to socialize and de-stress so Hank encourages it.

Markus thinks it's down right adorable. Connor has shown him pictures of the fluffy beast, and he seems like a sweetheart. Connor bright eyed and laughing while being sat on by said beast was even cuter. So when time came for Markus and Sumo to be officially introduced, he was a little nervous. However, Markus became downright perplexed when Sumo just straight up ignores him. Turns his head, puts his nose in the air, and walks away with his tail swishing like Markus is a bone buried in the back yard and Sumo's business burying it is done.

Connor seems to share his confusion, his brow creasing with every high pitched coo of encouragement for Sumo to "Come here boy! Come here!". Sumo makes for the world's worst guard dog, so Connor eventually just assures Markus the fluffy giant is a little nervous and to give him time. From the stare Sumo is giving him, beady eyed and daring, Markus feels inclined to disagree. But Markus is a mediator, if he can lead a revolution, he can win over a dog.

The next time they meet, he is armed with some tasty dog treats. Sumo refuses, and Connor explains it as him being picky. New balls to play fetch with show up a shredded slobbery mess, and even though Connor is happy "Sumo seems to enjoy them very much," the look in the dogs' eyes tell Markus he just wanted to be rid of them. New leashes that match Connor's favorite ties turn into a Scooby Doo style chase to get them ON Sumo, who usually loves walks. He eats Markus shoes. He bites through the edges of Markus coat "on accident". He pretends to be good when Connor is there, but every nudge for scratches is more like a gut punch cause Sumo's name is indeed very fitting. And most of all, he steals Connor's attention.

And that's when he decides to pay attention to Markus. When the two of them are alone, Sumo huffs like a put-upon parent and turns away. Markus' KNOWS Sumo is sending him snarky, irritated looks. If the dog could stick out his tongue and wag his fingers and say "Nah-nah-nah-nah-nah!" He would. On worse days he crawls in between the couple for "cuddles", or makes a grumpy little half growl whenever Markus greets him, and Markus knows he is being ridiculous, having a dumb competition with a dog of all things. But this is Connor's dog, and he's important, and Markus wants Connor to be HAPPY, so by the grace of ra9 Sumo is going to LIKE HIM damnit.

Because Markus cannot fathom WHY Sumo hates him so much. He's not arrogant, but Markus considers himself a pretty open and kind person. He's not scary, he's not dangerous, and he is perfectly willing to give ALL the pets and treats. Markus whines about it to the Jericrew, he whines about it to his dad, he whines about it while painting more pictures of Connor, and eventually he whines about it to Lt. Anderson who simply laughs and pats Markus shoulder with the simple explanation of "Connor is his boy, Markus." As if THAT makes any sense.

Markus is just about ready to give up after Sumo nudges his way in between them both AGAIN, while on a walk together. This whole line of thinking gets derailed however, when a rather agitates man steps into their path. Markus may not have Connor's combat protocols, but given the man's frustrated voice and sharp movements he can tell this won't end well. Markus is keenly aware of how much this can go wrong, and he's stepping in front of Connor before he can think it through. Not that he would have done anything else, but Markus keeps his body loose, his tone calming. 'Keep him talking' Markus thinks, and the man tells him about losing his job, about androids this and androids that, and Markus nods along as he puts space between them. But the stranger's frustration is boiling over, and his hand lashes out, only to stop short. It's caught in Markus' vice-like grip, because the man is angry and his eyes are focused on Connor, and Markus won't let him get hurt, he won't. The sound of rumbling comes from behind him and the stranger seems to freeze. Sumo, Markus remembers, and he watches the gentle giant edge forward, looking not so gentle but very giant indeed. His back is hunched, and Markus can see the flash of his teeth pulled back into an ugly snarl, angrier than anything he has ever given Markus.

The stranger pulls back, and he's stumbling away before Markus can say anything. There's a beat of silence before Sumo yips happily, and goes back to the smiling, drooling dog Markus knows. Connor is cooing into his ear, scratching along his belly because Sumo had been "SUCH a good boy, making the mean man go away, such a brave boy Sumo!"

And Markus finds himself agreeing, patting his head with a "Good boy Sumo,". They make eye contact over Connor's head, which has been buried into the soft fluffy side of Sumo's fur for cuddling purposes, and the dog gives a nod of his lumbering head. Connor is his boy, after all, and it seems he has decided to trust Markus with his person. Markus feels inexpicably happy at Sumo's approval, but it seems an agreement has been reached. When Hank returns, the man walks in on a giant cuddle session between two androids and a giant dog, and smiles.

[theyarebothgunshot]

At first I thought harmony was kind of annoying, but tbh I kind of feel bad for her as a second time rewatch, like spike wasn’t so nice to her and she does anything for him

i still think she can be very annoying but i agree that spike treats her like shit, and honestly that pairing never made any fucking sense to me.

had some other buffy related asks so i thought i'd bundle them:

Not only are buffy and Dean the same, but their actors also have tiny pointy teethies too ☺️☺️☺️

dfhgdhfgdhg idk what to say to this except that i never noticed that myself i guess :')

I’ve said it before and after rewatching buffy I’ll say it again Jack Kline and Dawn are so similar, like I remember seeing Jack for the first time and he reminds me of dawn, especially with AlCal’s acting during when he’s finding himself and parts where he’s sad etc reminds me of when Dawn finds out she’s a key.

honestly i don't find them similar in personality at all. i think jack has more similarities with connor because connor doesn't really know how to act in this world because of having lived in a hell dimension, but even that isn't that similar.

BUT i do agree about when they are both upset, when jack stabs himself it immediately reminded me of dawn cutting herself.

It's sort of interesting but I feel like even though I don't like Hank Summers anyway, I feel like they made him like worse in s5, like they kind of hinted from s2-4 he's kind distant, but Buffy seems fine with it. Than in s5 they explore it a little more because of Dawn - I feel like Dawn seems to be more affected by it too (that tends to happen when you're the younger sibling :/ , and the elder sibling has to take the parent role but that's a story for another time).

Also how dare Willow use magic stuff without paying...poor Anya is just trying to run a business - lol @tara for just trying to get out of the argument - also I was thinking do you think they sometimes use Willow's magic as a laughing thing? (yes I am watching the magic shop episode whilst messaging you - love to see Tara and Buffy bond :) )

i absolutely despise hank and they ruined his character completely when joyce died and he just. disappeared of the face of the earth. scum. maybe even worse than john tbh. well okay let's not exaggerate sdhfsdh but still.

i personally don't think they used willow's magic for humor if that's what you mean? i do think they used too many metaphors when it comes to magic. i mean, first it's a metaphor for lesbian sex and then later it's a metaphor for addiction. kinda confusing.

[thefantasticm]

Establishing Angst in AGBM

I am by no means a master of angst or conveying tension, and a lot of the times some of what I write that affects people the most was completely incidental. But I do try, and meet varying degrees of success depending on the scene. Here are some dank tools/things/advice I use and constantly keep in mind in order to help crank up the FEELS, and can apply to pretty much anything if you want some ideas as to how to do so.

1. Showing and Telling First thing’s first: ‘Show, don’t tell’ is absolutely ATROCIOUS advice. It is vague and unhelpful and wrong. Some things must be told. If everything were shown, every story in the history of man would sink to the bottom of the ocean, weighed down by a bloated scrotum of tedium and pedantry. There must be a balance, and yes, showing should be favored, but never to an extreme. I personally aim for a 70:30 ratio when it comes to showing and telling in my writing. It is a good ballpark to aim for because landing at 60:40 is still fine and 80:20 is also perfectly readable. Falling to 50:50 and below is where things start to get... bad. Anything below will usually be noticeably boring to even unpracticed readers. When it comes to conveying angst and tension in writing, emotions are key (so Cage has the right idea, but his execution is... well). It is fine and good and proper to tell the reader what the character is feeling, in simple terms. Yet it is something that must be balanced, as we’ve established. It is not enough to say “Hank was sad.” We must say “Hank was sad ABLOOBLOOBLOO.” And by ABLOOBLOOBLOO, I mean describing the physicality of that reaction. We’ve all been sad before, know what it feels like, so describing that churning gut, that beating heart, that sinking feeling - all of it helps to establish that sadness, and can make the reader feel it in turn. Maybe Hank will lash out with that sadness in an unhealthy attempt at emotional release. Maybe he’ll think about wanting to drink, or holding his gun, etc - and describing all of that becomes a showing of where that emotion takes him, depressive, reactionary thoughts that the audience can relate to. I say all that, but it’s also sometimes okay to just say “Hank was sad” and leave it at that. Sparingly, mind you... And exactly when those moments are most appropriate is a whoooole different discussion. 2. Third Person Limited This is less advice and more... information, since something like this is really at the mercy of the writer. Everyone has different preferences for how they narrate a story. I personally despise first person narration, I adore second person (in short bursts, it’s hard to carry a longer story with it), third person objective can be interesting or the exact opposite, and third person omniscient... well. In my very humble opinion, there is no easier way to suck all the emotional tension out of a story. If you are trying to tell an emotional story, third person omniscient is just... heinous. It can be great for grand, sweeping adventure stories, but when trying to establish an angsty emotional creep? Noooo fucking thank you. Holding the audience’s hand when it comes to how every character is feeling, giving information too freely - what a great way to remove any and all emotional stakes! Pick a character. A. One (1). Beyond that character, there can be no ‘outsider’ information. Everything must come through that one character’s eyes. They can infer, they can guess, they can assume the feelings of other characters. They might even be right most of the time! But the audience must never be told this through any other means. Which is why... Keep the narrating character uninformed. Nothing can dispel tension faster than certainty. Emotional tension and angst is most readily mined in what is uncertain. And God, this is such a fucking pain in the ass with ROBOT characters - not impossible, but fuck, I digress. Hank’s emotional hang-ups and struggles become more real and relatable when he does not know what Connor is thinking - when he projects, when he guesses, when he assumes. Hank does not KNOW Connor is in love with him, he simply perceives it, and convinces himself it is true, and thus convinces the audience. They see only what he sees, what he observes, and even when Hank is oblivious to it at the start, the audience is given the room and space to fill in their own conclusions because Hank does NOT know everything, and so when Hank has his ‘realization,’ the audience is even more convinced than he is! Absolute 9000 IQ shit, I know (it’s not). And so when Hank falls away from what he convinced himself of, which is separate from what the audience knows, it’s a little... gut wrenching? No, Hank, don’t doubt it! He does love you! But Hank can’t hear your screams from where he is... And when he comes back to it, when it is far more obvious, it has a much stronger effect. Can you imagine how fucking boring that shit would be if Hank was absolutely 100% certain Connor loved him from start to finish? Jesus. However, it’s important to give the audience a bit more to work with than just everything the main character perceives. Bits and pieces that the audience will pick up on, that the main character technically observes, but is something they do not out and out notice or give much thought to. Not every insight can and should be shared between the main character and the audience. The audience should have just a bit more information that allows them to draw conclusions that characters in the story might not otherwise think of. Which leads us to... 3. Dramatic Irony Mmm... Dramatic irony is just... *chef kiss* Mwah! It is beautiful and glorious. This is what makes the collective sphincter of an audience shiver with fear. I would not say it is my bread and butter, and good angst needs it not, but when it comes to a hard hitting tragic turn of events, no tool will smack an audience in the face harder than dramatic irony. Quick rundown: Dramatic irony is when the audience knows something the characters do not. Some of the most memorable tragedies make use of dramatic irony. Romeo and Juliet? The audience knew Juliet was asleep, not dead, but Romeo... did not. Oedipus? We know that’s his mom... Oedipus... Oedipus no! Dramatic irony is so powerful because the audience is given time to sense the impending doom but they are powerless to do anything about it. They want to stop it, but cannot. Helpless to watch things go wrong. The cold sinking feeling of your heart dropping to your feet. Dramatic irony can be hard to handle, since it will have little to no effect if you cannot get the audience invested in the story and the characters. It is also difficult in the sense that it can become somewhat silly if it is made too obvious. If the feeling of ‘oh god, x is probably going to happen’ comes too soon, the tension when it happens will not be as strong. On the flip side, if it comes too late, or god forbid, it’s not picked up on at all, it will fall flat. Not saying I did it perfectly by any means, but I did try. If you are looking to pull any sort of twist, or just fuck with the audience in general, dramatic irony is a great way to do so, without being hamfisted and preachy, or sudden and purposeless (like Alice being an android).

4. Repetition This is also highly personal choice, but over the years in writing I’ve found that pieces in which I used repetition tended to have better reception than those that did not. Repetition, whether it’s purely through language (which is mostly what I do) or theme, can help really really really drive home a point or emotion to an audience. Repeating certain phrases. Or just one word. Maybe a character says something they said once in the beginning of the fic. Of course, all of this must be done in moderation, and the timing of it has to line up with whatever you are trying to convey to the audience. Sometimes the ‘thing’ you are trying to convey can even be nebulous and mysterious, but then the point becomes to make the audience think more about it, which makes them more invested, which makes the hurts a bit hurtier... I do this a lot by repeating questions. What would he change? How had they arrived at this point? Honestly when I put it out like this I feel a bit silly, and it doesn’t work for everyone, but it works for some, and that is what matters. Mostly... it works for me! 5. The Short Short Long ‘Something was holding him back, a lump lodging itself in his throat. He thought of Connor at home and the way he called him Hank, Hank, Hank. There was nothing unusual about it, but beneath Wilson’s scrutiny it felt private, it felt intimate, and Hank could not find it within himself to lay open something that all of a sudden felt so profoundly raw.’ ‘Connor was the one that was embarrassed. Intensely so, to the point it had rubbed off on Hank. This was not a situation he would normally give much thought to, but Connor’s reaction made him feel as if he had done something wrong, as if he had broken some unspoken trust between them; and as he stood there watching the android, so human in the smallest of ways, Hank felt dirty.‘ ‘Hank wasn’t sure whether he dreamt those words or not. It felt like he did, with the hazy dreams that followed. In them, it was not Hank who left, but Connor - the one that could not be held down by the words that boiled in Hank’s chest but lacked the strength to be spoken; the outline of his body as he stepped through the front door, bathed in sunlight, warping the vision of him until there was nothing left.’ ‘In what capacity? It didn’t matter, did it? Hank needed him and his chest felt light; how easy it was to admit it now, all of a sudden, as if the past ten days, those agonizing ten days, had never happened.’ ...Get it? I’m not sure if this actually does anything. But I like it, so I’m putting it in. Long Short Shorts are also valid. Really the idea is that the rhythm of the tension suddenly gets much faster in the final point, thus making it seem more desperate, and driving it home more. But. I could just be imagining things? Hmm... 6. What Remains Unsaid Sometimes a character will want to say something, but doesn’t. Or they’ll think something, but say something completely different. Or they will infer a hidden meaning, unspoken sentiment, from another character. The things that aren’t said should still be told to the audience! However you want to do it. As much as these things can work in comedy, so too can they work in angst. It’s a very simple thing, but this can serve to drive up the tension, and have the audience clench their teeth from it. Deceptively simple! The feeling of ‘just say it, dammit!’ is a near universal one and should not be ignored! 7. DURRRRRRRRRR MUH CLICHE There is no such thing as an ‘original’ story anymore. You can add your spins and your twists and your little tweaks, but the fact of the matter is that every ‘core’ of a story has already been written. There is NOTHING wrong with cliche. NOTHING. Themes and plots and twists that are common are common because they are usually effective. Anyone who insists otherwise is... as much as I’d like to call them stupid, I really would, what they need is to be educated. The reason people tend to shy away from ‘cliche’ is because when it is done poorly, it is often excruciating. It can be really awful. But one should not shy away from cliche for the fear of doing it poorly. Embrace it! Write it to the best of your ability! If a ‘cliche’ is where a story leads you, then it’s not wrong! Why did I include this? Because most of all this fear of cliche applies strongly to angst, sad tropes, tragedy, etc. After that? Fantasy adventure stories and romance. 8. The High Highs Angst is worthless without a counterweight. Personally I think I’m god awful at writing fluff, but you will never be able to write good angst if you can’t squeeze out some manner of happy scenes. And going back to point #1, you have to show at least one of these happy scenes. It doesn’t have to be over the top. It can even be bittersweet. Hope over happiness, in case you don’t want to go full joyous. Once you start really getting into the angst the happiness and the hope will likely start to diminish, but I say it is usually a good idea to leave ONE good upwards scene interspersed in there somewhere. My final hopeful scenes in AGBM were Connor returning from Washington DC, and to a lesser extent the beginning of their final argument. I used a lot of loaded language in that small span of time to make the drop-off even worse, but that is an entirely different post...

9. Never Reward Your Readers Never reward your readers. Never reward your readers! NEVER REWARD YOUR READERS!!!!

Tell your story how you think it should be told.

NEVER REWARD YOUR READERS.

10. Alliteration Doesn’t actually do anything. I just like it.

[breadkneewrites]

What’s anderdad?

SPOILERS FOR DETROIT: BECOME HUMAN BELOW.

Anon, you better be ready for a wild fucking ride because I climbed out of bed to give you this long ass reply on the fundamentals of Anderdad. 

To begin, ‘Anderdad’ is a term i use to describe the father-son relationship between two characters in a video game titled Detroit: Become Human. The protagonist in the game (one of actually three protagonists, but I’ll spare you from a whole DBH spiel) is named Connor, and he’s an android who partners up with Hank Anderson (a human) throughout the game to solve cases dealing with ‘devaints,’ or androids who have practically broke through their programming to develop free will. (shown below: Hank then Connor before they hug post-credits scene).

Typically, before the android revolution, androids were completely controlled by humans and never could do anything that wasn’t a command in their programming. Only certain people can give commands to specific androids as well. For example, Connor’s commands can only come from CyberLife (though he frequently follows Hank’s orders if you decide to make him deviant), the main android company who makes, programs, and sells different android models for different types of jobs (e.g. caretakers, babysitters, factor workers). Connor is the only android model (an RK800) who was specifically developed to work as a detective in the police department. He can go deviant or stay a machine depending on the player’s choices. 

But you asked about Anderdad.

Anderdad, as you’ve probably connected by now, is a term to describe the relationship between Hank Anderson and Connor. There are many moments in which Hank calls Connor ‘son’ and behaves towards him as though he were Connor’s father. Hank previously lost a son, Cole, to an unfortunate accident. If you allow Connor to die multiple times throughout the game (he always comes back because he’s an android), Hank will tell you “every time you died and came back, I thought about Cole.” But this turns out to be a Bad Ending. I’m only using it to show Hank’s paternal instincts towards Connor throughout the game.

Whenever Connor and Hank are caught in the crossfire of some deviants, Hank will repeatedly tell Connor to not charge the deviants, to stay behind him, to be safe, ‘you’re going to get yourself killed!’ etc. In a specific scene, Hank can walk in to find Connor dying (he had his thirium pump regulator ripped out, which acts as a heart, very good whump material) and will hold him as one does a dying child. He will even place his hand on Connor’s forehead and whisper a soft ‘no.’ Good dad material, right? 

Hank repeatedly encourages Connor to go deviant in subtle ways. If he decides to stay a machine, Hank will die at some point by the end of the game (either by suicide, as he has a lot of self-destructive tendencies, or Connor can kill him). In the beginning of the game, Hank despised androids and blamed them for his son’s death. By the end of the game, if you take the Good Ending, he supports the revolution and helps Connor release a bunch of androids trapped in CyberLife tower. 

Now, with every father-son pairing (for example, Irondad), there are shippers. While shipping Connor and Hank isn’t specifically pedophilia, as Hank is 53 years old and Connor is built into the body of a 25-year-old male, I still find it pretty unsettling and gross. I’ll probably get hate for saying that, but it’s my personal opinion. I mean, who ships a 53-year-old man with an android built into a younger body whom he also repeatedly calls ‘son’ and checks to be sure he’s alright? I’m pretty sure they base most of it off of The Scene, as I call it, which happens post-credits. Hank and Connor, after the events of the revolution, share a familial hug. That’s it. But they seem to latch onto that. 

On a more humorous note, Fanon Connor seems to act a lot like Fanon Peter Parker, which is absolutely hilarious. I also tend to spam @losingmymindtonight with constant fanart of Anderdad, which probably ends up annoying her. For example:

The Anderdad fandom is small. Smaller than Irondad. There’s only one game and no promise of more material yet, since it took them four years to even make the first DBH game, so the only surviving content comes from fanfiction, fanart, and Bryan Dechart himself, who is the actor who plays Connor throughout the game. He does frequent livestreams of playing the game with different endings with his wife Amelia Rose Blaire, so if you want to see the game via livestream and watch the actual actor play it, here’s his YouTube with all the videos: https://www.youtube.com/user/bryanpdechart/featured.

Sorry for the long response, it’s just that this fandom is so small and I have SO MUCH TO SAY. Maybe I’ll even convert some of you to join, like I did Kathleen. 👀👀

As Bryan Dechart would say: stay deviant. 💕

[simptasia]

🔥 torchwood, lost & detroit become human??

torchwood: i don’t think its that bad. the way the bi rep was handled is kinda wonky because… 2006 but like, overall its a good show. series 2 especially

also i love gwen. i dunno how much gwen hate still exists now but yeah

lost: 

the finale was great, fantastic, beautiful, A+++

the characters matter more than the ~mysteries~

i like/love jack, kate, ana lucia, michael, charlotte, shannon (heck, insert any female character name here because they’ve all gotten ragged on)

jacob is a bad person

i don’t think kate & sawyer work as romantic partners, i just like them as friends. i approve of several ships in the love square but thats one i’m ehhh about, and i know its very popular

i like sayid/shannon. nay, i love sayid/shannon

but overall im happy the modern lost fandom is fulla queer feminists because from what i’ve seen, the old lost fandom (2004 to 2010) was… not as pleasant

detroit become human

oh gosh this is gonna be bad (i have friends who hate this game)

i wanna make it clear ahead of time that i absolutely am aware of the flaws in this game and i’ve even spent a lot of time discussing them with my friends.nobody can diss dbh better than a dbh fan, believe me. i can be aware of something’s flaws and still like something (anybody whose followed me for lost knows i’ve dissed the flaws in lost loads of times. i still love it!) 

also the dude who wrote/directed this game is an asshole, an idiot, a sexist and a bunch of other bad things. thats not an unpopular opinion, i just wanted you guys to know that i know this. when i praise dbh, i’m not praising him

long story short, i like the creation not the creator

i went on a bit so its under here

despite who made it: it’s a good game, brent

i think despite its flaws, there’s more good things than bad things

allegory isn’t inherently racist. note my emphasis

“heavy handed”, “on the nose” and “not subtle” aren’t bad things? i see it get used as insults a lot but to me i got no bother. not subtle doesn’t mean bad. bear in mind that i’ve grown up a star trek and x-men fan so yeah

i don’t wanna say the word overrated because i don’t believe in that. i just find it interesting how certain characters are getting a lot of attention (e.g gavin, nines) whilst other characters are ignored or reviled. thats not me saying the characters whom are popular in fandom should be ignored, thats me saying i’d like more focus on other characters i like too e.g markus, kara, kamski, the jerries, north, josh, rose & adam and a bunch more. i just really like all the androids and some humans okay

like, its pretty obvious why simon (white man) is being adored whilst josh (black) and north (woman) are being ignored and despised respectively, right? and thats not me hating on simon or saying less simon. i like simon! (or like, what can be done with him bcuz canon simon has no depth)

i just happen to like josh and north! which deserves its own bullet point

not only do i like north, i love north and she’s one of my fave characters!

i do not agree with the often used phrase “hank and connor are the only worthwhile part of this game”, in fact, i hate it. sure, the best part of the game, go ahead. but the only worthwhile part? fuck you, because

i like markus and kara and their stories! whilst most my problems with this game are in markus’ story (just trust me on that), overall i still like it. and kara? heck theres not a single kara chapter i don’t like. and on that note:

i don’t consider kara’s story to be useless. yeah she’s not part the revolution plot but thats not bad. i think it provides a balance. think of it like this: markus represents The Leader, the liberator, the messiah. he is fighting for his people. and he comes from a privileged background. connor is representing The Man, The System, depending on how you play him he is rebelling against The System or is a part of it. now what does kara represent? The People. her and the other androids she encounters represent the average android in this world. markus and connor can’t do that so i feel its important we see her. we’re seeing what markus (and maybe connor) are fighting for. and i think thats really important

and besides all that, i just plain like it okay

i like markus/north, i think they make a good couple (moreso in my head than in the game but i still think they’re sweet in the game)

the concept that pacifist markus and north don’t “make sense together” is stupid because ur assuming north is bloodthirsty and has no room for growth. and that all couples need to agree with each other. also north for violent markus and simon for pacifist markus also makes no sense to me becuz 1. people aren’t rewards, 2. ur confusing simon with josh. again. and 3. violent!markus and north would just be enabling each other. if north is to be with any markus, it should be pacifist markus because they’d be good for each other. also all three of them being options woulda been nice but that’s not an unpopular opinion anyways so moving on

the awkwardness felt about markus/north coulda totally been fixed by literally just one change. take the “lover” indicator and move it until after their first kiss. that way the timing is far less jarring and because the player can choose the kiss or not, the “lover” thing feels more like “yay i made their relationship grow” and less “oh whoa that was sudden”. if that was moved and nothing else changed, markus/north would’ve been way more loved. but alas, markus’ relationship scanner is just damn awkward

markus, my markus, is a verse and a kind, socially inept boy (i like how with the jericho four, north is a rowdy girl whilst the other three are various kinds of soft boys in their own way. i think thats cute and neat)

connor is not an innocent niave dumb bimbo (save that for the bedroom) and i wanna remind ppl that he’s an expert on psychology

the humans killed by daniel, ralph, echo (blue traci), shaolin (HK400) and north all deserved it

north, josh and simon would not all hate each other, fuck you. these people are meant to be friends, remember? (also jericho OT4, y’all!!!)

the facial expression on simon’s face after markus and north kiss at the end is gentle approval. he looks happy, some ppl are just projecting

i don’t mind that alice is an android

the way some markus/simon shippers talk about north is downright sexist and i think most north hate is caused by sexism & rape apologism

(i’m a live and let live kinda person about ships and also i’ve very into multishipping so some y’alls behaviour is perplexing to me)

there is nothing inherently morally wrong with shipping hank/connor. connor is capable of consent and age differences aren’t inherently bad. and the only reason this ship is controversial is because hank looks old and he’s not conventionally attractive. nobody would care otherwise

kamski isn’t evil, he’s morally ambiguous / chaotic neutral

i, uh, like kamski/chloe. its interesting (i’ve embraced that it’s fucked up) and i like the idea that chloe actually does love him. its kinda tragic?

a bunch of that was more about the fandom than the game but whatever. and as usual when i make a list, theres probs more but like, thats what comes to mind

yeah there was room for improvement on this game but overall i think its great and i like the characters, more than that i like what can be done with the characters. like, its a nice place to build from. and like, the people who are all like “if ur a fan of detroit become human, ur a bad person” can just fuck off

thats not how… anything… works

and besides its a piece of android media, done in a story based game, that has android babes and is fulla allegory and it’s something i can analyse to death (and as a bonus, the graphics/rendering/mocap/texturing are PHENOMENAL)

of course this is something i would like and i won’t apologise for that

[cointriicked]

STATS

REPOST, DON’T REBLOG

・・・・・★ BASICS.

FULL NAME:  R/K8/00 #313 248 317 - 51 ....... AKA “Connor” NICKNAME: Just about anything nasty you can think to call an an/dro/id AGE: 2 months, 27 days at the end of the game BIRTHDAY: August 15, 2038 NATIONALITY: American not considered a citizen because he’s not considered a person PLACE OF BIRTH: Det/roit, Mic/higan CURRENT LOCATION: Detro/it, Michi/gan PRONOUNS: He/him, also responds to it/its due to being an an/dr/oid ORIENTATION: Homosexual (I see you eyeing that male stripper a/ndro/id, Con) RELIGION: Undecided LANGUAGES: Can literally speak anything because he has a program that’s basically a futuristic google translate VOICE: Br/ya/n De/cha/rt. Somehow melodic, delicate, and husky all at the same time. ・・・・・★ PHYSICAL ATTRIBUTES.

EYE COLOR: Brown HAIR COLOR: Brown HEIGHT: 6′0″ BODY BUILD: Bean pole; tall, skinny, lithe. Built more for speed and agility than for heavy lifting. Which means he can easily jump across trains chasing a deviant. But if you need him to jump through a window? Good fucking luck.

・・・・・★ NOTABLE FEATURES.

Big, dark, kind eyes

Cupid’s bow lips

Soft, swoopy, thick hair

Freckles! Lots of freckles! All over his body!

Unique vocal patterns (see above)

Somewhat stiff body language, all his movements seem very precise and calculated out before they’re executed

Seems more “human” than other a/nd/roids. If that’s programming or early signs of deviancy is up to you.

・・・・・★ PHOBIAS & DISEASES.

PHOBIAS/FEARS: Connor is terrified of the fact that he’s terrified. He’s scared of dying, of losing Hank, of being killed and this time not coming back. But most of all, he’s scared of becoming the very thing he was built to hunt. His world made sense when he was released; go out, catch the deviant, bring them in, and thereby end the chaos. But every day is a little more difficult for him. Every deviant a little harder to bring in. And Connor’s really scared that one day it’s going to be him that Hank is hunting down. That being said... the kid is intensely rebellious. He’s kind of like a teenager that doesn’t want to get in trouble with his mom, but wants to “find himself,” so he keeps staying out past curfew and then insisting he’s not the kind of person who does that sort of thing because he was early to bible study this week. DISEASES: Is the desire to be free an infectious disease?

・・・・・★ PERSONALITY.

GENERAL IMPRESSION:  Connor has a way of presenting himself that, if you just look at him, it seems like there’s nothing wrong with him at all. He’s pleasant, polite, courteous, and smart, which is exactly what most people would consider the ideal an/droi/d to be. He’s physically attractive and charismatic, which makes him the kind of person that people might be drawn to if he was human. But after spending some time with Connor, people who are looking will start to notice a few strange things. For one, he can’t help being a sassy punk, and disobeying orders because he decided that his own personal orders are more important than whatever anyone told him to do. He also gets easily frustrated, throws himself in harms way more than just when it’s entirely necessary, and will cross the street against the light to pet a dog. It’s this weird mix of being exactly what people expect and nothing at all like what they expect that makes a good percentage of humans absolutely despise this rebellious little snit.

MORAL ALIGNMENT: Lawful good

・・・・・★ MISC.

・・★ LIKES:

Animals (esp dogs)

Coin tricks

Having his hair pet

Achieving personal goals

Rebelling

Big hugs and forehead kisses

His partner (!!!!! loves him so much)

Saving lives and protecting people

Making new friends

Licking evidence off the floor

How peanut butter smells

Things that sparkle or shine or light up or are brightly colored

・・★ DISLIKES:

Hurting people

Being called a deviant (even though he fucking is)

Dying

Alcohol smells

Being called names

Failing in personal goals

When his partner is mad at him

Being asked to make people coffee

Conflicting orders

Not knowing what’s right

Feelings

His mom at least 50% of the time

TAGGED BY: @coalessscence TAGGING: @dumpsterkiing @o188 @f-ckingpassword annndddd I guess anybody else who wants it!