#something about parallel canon being designed for security... protective

[lyvesynth]

THIS IS OLD BUT. more side order backlog art

[abumbledbee]

Tubbo and Wilbur’s Parallels

tw/ mentions of death / suicidal ideations

“If I can’t become the next Schlatt, then you can’t become the next Wilbur.”

This is a quote from Tubbo, given just before the exile arc began, when he was arguing with Tommy. Tommy accused him of acting like Schlatt because he was putting the nation's needs before him. Tubbo, offended at the comparison, reminds Tommy that he is acting irrationally, and is reminding Tubbo of Wilbur.

When we speak of parallels between Tubbo and Tommy with Schlatt and Wilbur, we’re often inclined to compare Tubbo with Schlatt, because they worked together so closely during Schlatt’s reign, and the complicated relationship between them which ultimately ended up with Schlatt having Tubbo lose a canon life for his betrayal. And due to Tommy and Wilbur's close relationship before and up to Wilbur's betrayal, it's easy to draw comparisons between them as well.

But I think we often overlook a lot of similarities between Tubbo and Wilbur that are worth delving into more, and the farther Tubbo goes with his character the more comparisons I keep catching. At this point I think Tubbo's character parallels Wilbur's far more than Tommy's does.

Wilbur was the founder of L’Manberg, and its first president. It’s a nation he built from the ground up, which started as nothing more than a front for his drug lab but grew into something bigger and more meaningful than Wilbur ever planned for. While on the server he found love (?) and had a child, Fundy, and then things began to get rocky as they fought for their independence against Dream.

Ultimately Wilbur fails to protect L’Manberg and their independence is bought by way of Tommy sacrificing his discs in return. Wilbur ends up losing his country by way of being exiled when Schlatt wins office, and we watch his descent into madness as he realizes how much he cared for the country and how no matter what he does, what it once was is gone forever in his eyes. The Pogtopia arc originated with Wilbur trying to come up with a plan to secure his presidency again and to reclaim his country. It ends with Wilbur refusing his original role and ultimately destroying the very thing he created along with himself because he couldn’t bear to see what it or himself had become.

In Wilbur’s darkest moments we see them play out on screen, his button room is one of the most iconic scenes we got during this period of the storyline. Wilbur in an enclosed space, surrounded by the signs reminding him of what L’Manberg once was and what it would never be again. He's hounded by his thoughts, his mental state shattered and he no longer believes there's any other course of action.

Ultimately this is his final resting place, the room where he sets off the TNT that destroys L’Manberg for the first time. He begs his father, who had just arrived to the server because he was worried when Wilbur stopped sending him letters, to kill him. And Phil does.

L’Manberg’s story does not end here, despite what Wilbur did. It begins again, with Tubbo and a crater. We talk about Tubbo being president of L’Manberg as though he was just taking on the role and a nation the way Schlatt did, but in reality, he founded it again. Tubbo, along with Phil and others, REBUILT an entire city on the rubble of its former life. Tubbo’s L’Manberg is in fact nothing like Wilbur’s, except for the parts Tubbo purposely recreated, like the camar van.

The major difference in their takes on presidency is that Tubbo did this for Tommy, for Wilbur, for the original citizens. He took on the role of President out of duty to Wilbur who passed it down to him when he felt unfit to rule again. He did his best on behalf of everyone who fought on Pogtopia's side, to reclaim a nation they all had lost. In the end he lost it one final time, chunk errored by way of Phil, Techno, and Dream.

And from here on we see a new Tubbo. The bright-eyed, president-elect is no more, and instead he begins to isolate himself from the main server. He retreats to a snowy biome separated by water, and builds a house and gives it a name. Snowchester. Now, most people wouldn't give just a house a name. Even from the start Tubbo was creating a new community, without even realizing. Eventually Snowchester grew to be a legitimate colony of its own, with Jack Manifold, Foolish, and Puffy all moving in and setting up shop. He declares independence, and in doing so, decides he must ensure it any way possible. He's seen what happened to Wilbur's L'Manberg, how helpless the other man was in keeping it safe. He knows he failed his own L'Manberg, and he will not let it happen again.

He hatches a plan with Jack, and the answer is.... Nukes. A bomb, in other words. But instead of using it to destroy his nation, it'll be used to protect it. Tubbo designs it, and they ensure it works with a test launch before decommissioning the remaining two. Time passes and eventually, he's opening up to people again. Tubbo marries Ranboo and they adopt a child together.

Suddenly it's not just Tubbo, it's Tubbo and Ranboo, Tubbo and Michael, and then Tommy is gone. It's shocking, and unexpected, and he doesn't believe it at first. He's been so beaten down under Schlatt's regime he no longer openly shows his emotions, the closest we get to seeing his true grief during this time is when he stares at the memorial he just finished for Tommy in Snowchester. Then comes the anger.

He wants to know how this could've happened, he tries to investigate it, but before he can get too deep into it, Tommy's back. Revived, and Tubbo has had to experience losing him and gaining him back again twice now. Inevitably, like with most of Tommy's plans, Tubbo is roped into his next one. And it's a doozy. Tommy reveals that he wants to kill Dream, to ensure he can never revive anyone else, and Tubbo reluctantly accepts.

One of the most troubling moments during his investigative time was when he made a room for him to fill with his notes and evidence. At first glance it is deeply reminiscent of Wilbur's button room, the walls covered in signs and his lectern in the middle of the room mimicking the button. Because Tommy returns before he can get further in his investigating we'll likely never see this room again, but seeing him make it to begin with filled me with unease.

Tubbo has lost his fear of death. It's first noticed at Doomsday, when he defeatedly jumped in front of Techno's rocket launchers over and over again. We see inklings of it again and again, such as when he scoffs at his chat begging him not to investigate Techno for the TNT at the prison, saying he'd die. Tubbo just replies with "So be it." and continues on. We see it again when he and Ranboo investigate the Eggpire and get caught, and he continues to fight with them until he's only got a few hearts left. He mentions feeling exhilarated, full of life from almost losing his last. It's a reminder of the violent life he's had til this point, his time in the SMP filled with war and bloodshed since the very beginning. He's not afraid to fight despite being on his last life, in fact at times he seems almost ready to end it all.

Yesterday's lore stream was unsettling in a few different ways. The first being Tubbo casually mentioning how his eyes play tricks on him. It's a throwaway mention towards possible hallucinations or paranoia. He also refers to himself as paranoid later on when he's worried someone's hurt Michael, and it bothers him so bad that the next minute he rushes over to ensure Michael is safe. He is willing to do whatever he must now, to ensure Michael can grow up safely, much like Wilbur wanted for Fundy, with no Dream to terrorize the server any longer.

Wilbur's initial wish for L'Manberg once it was fully formed was for it to be a nation his son could grow up safely in, with all the possibilities at his fingertips, until their independence was threatened and he had to focus on leading an army instead of being a father.

But even more upsetting than that, is Tubbo's admission to how he designed the nuke. He tells Jack after one is stolen that there is a manual detonation option, a dead man's switch. He designed the bomb to have a suicidal solo detonation option as a last resort, so if he ever needed to use it and Jack wasn't there he could take matters into his own hands. Tubbo was so ready to ensure if something happened to his self-made colony he could deal his revenge even at the cost of his final life. His reasoning for making the nukes was not for self-defense, it was so he could finally take a swing back at whoever took from him again. He'd seen L'Manberg destroyed twice by people who initially sided with it, had 2 canon lives ripped from him by way of betrayals. He might not have thorns on his armor but by god will his death have them, and heaven help whoever is on the receiving end of his suicide-start nuke.

This mimics Wilbur's final steps but from the logical, more level-headed mind of Tubbo. He's created a bomb, a weapon of destruction he's willing to die with. Wilbur wanted to die with L'Manberg, Tubbo is willing to die for Snowchester.

[businessbois]

hello blue :D i would like to know everything you would like to tell me about your favourite fic you've written

lyssie shrugofgod weirdly-enough this is the kindest thing ever i hope you're ready for vaguely comprehensible ranting.

okay so i couldn't choose between two fics "once i called you brother" and "the art and (mine)craft of war" because i could talk forever about both, but im gonna talk about "once i called you brother" because its the less popular one

heres the link :)

so i basically wrote this fic because i thought that the song "the plagues" from prince of egypt (or at least the opening lines) were incredibly perfect for c!tommy and c!techno and it was a shame that no one did an animatic for it yet. i cannot draw so i just wrote a fic for it.

once i called you brother once i thought the chance to make you laugh was all i ever wanted

is that literally not tommy with techno though?

and then the rest of the song can read as like doomsday or november 16th, you know, them arguing about selfishness and betrayal and all that. the song fucking slaps.

but anyways the fic itself? the opening is inspired by how like, if you didn't know who technoblade was during the beginning of the smp, he would just be this mysterious figure of legend that tommy, wilbur, or dream occasionally talked about. it hit me during the dream v technoblade duel stuff that since techno had never been on the smp before, he was just this invisible dude with a huge reputation and that was so cool to me.

"Alrighty, I've been here before, right?"

"Listen, Techn—Dream..."

these are quotes from tommy that i quoted in the fic. i used to do this a lot, just stick quotes with no context into fics because i assumed everyone had the same precise memory of everything that went on the smp that i did. the first one is referring to tommy being surrounded by people outside the community house and "i've been here before" is him remembering a similar scenario on smpearth and therefore technoblade. the second is when he accidentally calls dream techno (about 30 seconds into this comp) again adding to techno's thing of being just this widely alluded to figure.

"Who do you think will win? My bets on our boy, Dream, but feel free to be wrong."

Niki stays quiet, a small frown on her face.

i feel bad for cutting niki absolutely owning dream with "well, techno's my friend" but it simply couldnt stay in for fic purposes

waking up to a frantic Bitzel muttering about hypothermia and something heavy and red covering his shivering frame.

smpearth is canon because i Want it to be canon and in my canon there's a moment where tommy passes out in the middle of a fight and techno brings him back to business bay wrapped up in his cape because he's technosoft and all their fighting is more like play fighting anyways

Tommy knows that love is earned. That if he does well in some Championships, then his place in the family is secured.

this is inspired by the bet that wilbur and tommy had in like mcc8 that if they placed fifth or higher tommy could be in sbi. in tommy's pov it becomes, "you have to earn your place in this family."

“Because I’m not the vice president.”

this is from one of his exile streams where he's talking to dream about why people won't visit him anymore

Tommy is 10 and too big for his boots.

this section is inspired by tommy's story of how he met techno as told in this storytime.

there is something that flickers at the back of his mind when the ratty zombie child calls him The Blade.

i think it's so incredibly special that everybody calls techno The Blade but like,, that's tommy's nickname for him. theres this moment where tommy's talking about giving techno a nickname and techno's like "you call me The Blade!' again, everybody calls techno The Blade, but he tells tommy "you call me The Blade." like i don't know how to articulate this but, that's tommy's nickname for him. they're brothers.

Tommy's been to war with soft, pale blues.

ae reference because again, smpearth is canon cuz i said

Tommy is 13 and standing over the remains of Business Bay's storage area.

this is an smpearth thing. wisp and vop did a whole grief of business bay, it was very dramatic very tragic. the thing with techno coming to business bay to talk to tommy is from this comic and i hold this headcanon close to my heart.

"Tommy, if anyone gives you trouble—and I mean serious trouble, not the kind we have—you tell me.”

Tommy hears an echo of similar words from the man who just burnt down everything he’s worked for.

"Tommy, anyone that touches you fucks with me... I will kill Techno if it takes me all of my life to prepare for it, you understand me?"

im so proud of this parallel between wisp and techno man you have no clue. okay, so like i said before, the ae versus bb thing in my head is very much like play fighting. sometimes it gets serious like the scenario which is happening in the fic where things actually get destroyed. that's because they're stubborn teenaged boys and conflicts can go from fun to actual trouble real quick. these "similar words" and the following quote are references to one of my favorite wisp moments ever. wisp, for anyone unclear on smpearth backstory, was a part of business bay before he betrayed them for the antarctic empire. he was also the one who burnt down the storage area which is why tommy's remembering this quote so bitterly.

Tommy rolls his eyes. "I pinky promise, Technoblade." He sticks out his little finger like a challenge.

the pinky promising is Canon from like the post-exile streams i think and i headcanon it as something tommy just does with people

and so this is to put context to the "using techno" thing. because i've always kinda viewed as like calling in a friend (or a big brot—[gunshot]) in for help so this part of the fic gives it the background to be like that

But then, Tommy is 16 and standing in a cataclysm, once again watching everything he’s worked for get destroyed by a man who swore to protect him.

this line solidifies that parallel to wisp where techno made a similar promise to protect tommy and now he's destroying everything tommy's worked for (business bay in wisp's case, lmanburg in techno's case) im very proud of this parallel.

His tall brown-haired friend from competitions past

wilbur of course, the competitions past being mcm

He collects titles like music discs

i asked my friend for things that people collect and they said "records" and i said "wait—"

Technoblade is 17 and he has no family. He has a friend who makes sure he sleeps. He has a friend who creates bridges and mischief. He has a bug that he still hasn't squashed.

i've always loved the idea of sbi becoming this little found family on smpearth. like they're not super lovely dovey "we're like brothers" but they're so fond of each other and they hang out when they're not pretending to be at war. and so theres still that room to say that they're not family, but like they totally are

Bright blue eyes beg him for some entertainment, so Techno sighs and grabs The Complete Works of William Shakespeare off the shelf.

this headcanon that techno used to read them shakespeare comes from wilbur's offhand comment asking techno to recite king lear to them

Wilbur's planted himself at Techno's side for the duration of the finale, something that he's grateful for. Wilbur's always been his person to lean on for things like this.

inspired by i think wilbur saying that he was techno's like designated extrovert during mcc's and i really love that aspect of their relationship. because techno is looked at as "the older brother" in so many ways, but like in this way, when wilbur's guiding him through social situations and supporting him, he gets to be wilbur soot's little brother.

Technoblade never says I love you, but he reads his baby brother The Twelfth Night instead of Hamlet and ends Theseus' tale after the Minotaur.

this was one of the first things i had written for this fic. so obviously hamlet is a tragedy while the twelfth night is a rocking good time. so like going back to that shakespeare headcanon but techno protecting tommy in the little ways. the theseus part is inspired by me not knowing the rest of theseus' story after he gets home and his dad jumps into the ocean. like the exile and death stuff i didn't hear about until the dsmp so that's where that came from. techno, even though it kind of goes against who he is, leaving theseus' story as a victory where the hero slays the monster, just to give his little brother something with a happy ending

"Do you want to be a hero, Tommy? THEN DIE LIKE ONE!"

i did always think this could be seen as like "well if you want to be a hero, then you can die like one" and leaving off the unspoken "but if you don't want to be--if you choose not to be, then you get to live. so don't be a hero. please don't be a hero." and theres like that little tragedy there that i really love in techno and tommy's relationship. like, i love you, you love me, all i ever wanted was to make you laugh, but we don't speak the same language. we don't understand each other. everything you are is against everything i stand for. so yeah bedrock bros feels. i wrote this long before exile and all that so its even more complicated now gosh.

[brawltogethernow]

So on the whole, how useful would you say Death Note is for teaching someone how to write a convoluted plot between enemy chessmasters that's at least... 50% watertight?

General disclaimer that I haven’t touched the source material directly in many years, and all my dn posts are me feeling my feelings. But yeah, I can shake my 8-ball about this.

There are two components to dn’s approach to “a convoluted plot between enemy chessmasters”, and they’re only roughly stapled together. There’s the rivalry/characterization part, which is both compelling and silly, and is mostly about aesthetic. That never really concludes in a satisfying way. It’s not TRYING to, because the characters are pretty much there to hold up the thought experiment premise, which demands a lot of grit and unpoetic death and not solid foundations of character/relationship work. Like there’s stuff there but you’re really deep-mining for it and doing a lot of the work yourself, and that’s by design. All of the character arcs, which are pretty thin on the ground, trend in a negative/dismantling direction (because it’s a tragedy), and few of the relationships play out all the potential they have (because it’s not a tragedy about relationships).

The character aspect of the chessmaster stuff is heavily reliant on the conceit that once people are smart enough they will start reaching the same conclusions in the same way. Like there’s a single most ideal train of thought for every situation that even people who should have very different thought processes will reach with the assistance of enough little gray cells. This isn’t uncommon in smartboi stories, but dn went absolutely ham on it, if you want to make a study of that trope.

The biggest takeaway there is probably noting how the creative team seems to have been unaware that a lot of their audience was actually buying into that between the lead and their rival as a “meant to be enemies” kind of thing and didn’t realize that faction would be less interested once it became obvious that no, all geniuses in this world are taking turns using one brain. I’ll freely admit I deliberately misread this element to maximize my own investment.

Then there are the tricks and puzzles. The odd logical hole is inevitable, but overall they’re solid. They’re also just procedural plots delivered in a less formulaic story than that usually makes one think of. There’s nothing distinguishing them from the weekly puzzle of a House episode or a Detective Conan arc except for raw creativity and panache. There is rarely any characterization going on whatsoever. The twists require players, but you never get the sense that only whoever is being pulled to act could fill their part. They’re always stand-ins for perfectly generic individuals, putting their distinctive quirks and intense personal philosophies aside. This is that idea that there’s one way of thinking that everyone is accessing at staggered intelligence levels in play again. People are simplified until they can be pieces in contraptions no more complex than Light’s exploding desk drawer trap.

This is why the trick plots of dn don’t get pored over a lot by fans. They’re looped too loosely to the rest of the story to have an emotional impact that will make them memorable long-term. They’re deceptively simple, too. Kind of the opposite of a story twist that makes you rethink everything that came before it in a new light. You can’t dismantle dn and reassemble it like pentominoes very easily. A lot of it is grand set pieces, and if you tease out any of the puzzle plots they sort of lose structural integrity and flake away. This is why most canon divergence fic for dn is “diverging” by asking the question “what if Light were less of a shit”.

Ultimately, Death Note only gives the impression of being a complex engine made of moving parts. Its strong suit is its showmanship. It’s very good at carrying you along from twist to twist in a state of mild beffudlement that doesn’t quite escalate to belligerent and securing that “Oh wow! That was clever!” reaction. The mastermind-offs of are deceptively static, pretty much coming down to one party either failing or succeeding to thwart a plot laid out by another in advance without a lot of combating each others’ machinations in real time. Once resolved, twists vanish from the consciousness like disappearing gold. There’s no fiber to them, just flash.

This isn’t critique! Most elements of this story do what they’re deployed to do. (If the tricks needed workshopping, people would analyze them more, ironically.)

I’m myself shit at (de)constructing brain tingler twists and can’t really identify if dn’s are useful for instruction purposes. Not for people who don’t already have a natural talent for them, I guess! It might be interesting to identify why they’re not immediately identifiable as bloodless trick plots, except I suspect it might just be that the rest of dn is so insane and dissimilar from stories that usually contain those? Like I already compared it to two Holmes descendants, and it definitely has BBC Sherlock “let the asshole speak, genii are a protected species” vibes, and the criminal protagonist facing off with a detective premise is Arsene Lupin-y, yet I still feel weird identifying Death Note itself as in this broader genre because *gestures to all of it*.

It’s the least formula-reliant example of the breed I can think of right now, which is neat. (Annnnd also definitely feeds in to people being dissatisfied with it because they miscalled what it was trying to be. Dn is just generally pretty unique, and I imagine the team was making up a lot of its playbook from scratch as it went along, which leaves the audience in kind making up the experience of consuming it.)

All of the above is incidentally why dn is infamous for being very compelling in the moment but then having people revisit thinking about it and decide the he-knows-that-I-know-that-he-knows conceit is actually ridiculous and needs to be taken with a grain of salt.

So uh. This all SOUNDS like bad form, but that’s arguably me being a basic bitch who “likes when plot and character and aesthetic inform each other”, and that’s just fundamentally not what Death Note is. Also it’s kind of a lofty starting goal and writing is hard. Like! This approach worked! We are discussing a very successful property with many fans. (And a weirdly finite cultural impact for its popularity but this isn’t necessarily why.) I guess this is an acceptable playbook, and the takeaway is that you CAN successfully Frankenstein together different unconnected storytelling methods, and it will look dazzling and impressive and barely leave any of your readership feeling confused and hollow inside and likely to return and make fun of themselves for accidentally liking your work wrong.

Oh, also, dn as do’s and don’t’s of building a mastermind character. Do give headlining characters eye-catching, memetic traits. Don’t fail to trace those traits down so they actually represent something at your character’s core because you crossed over the line from “spinning characters out as foils and parallels who compare and contrast to each other in interesting ways” into “all of your smart characters are basically the same challenge-seeking misanthrope stamped with different surface features” -- except WHO ELSE IS GOING TO HAVE THAT PROBLEM? THAT’S NOT NORMAL.

So yeah you COULD study Death Note, or you could binge some crime dramas and then some X-Men issues that have battles in the center of the mind over the same weekend and get basically the same net effect.

[nexyra]

I got an ask for Qrow Branwen so here it comes !

My fav ship(s) for the character

I think my favorite ships for Qrow are Cloqwork and Fair Game ! Cloqwork lacked screentime in terms of canon content of course, but I love the potential here. I also have a things for shipping the sad men together xD There are a lot of REALLY great Cloqwork fanfics out there and I love seeing people write about these two <3 It's in the details but I think there's something interesting here. With Qrow who is convinced to be a curse, who came from such a harsh background... And with Ozpin who is so convinced of humanity's inherent goodness and that anyone deserves a chance. At the same time they're both very complicated people who I think would interact in cool ways. Ozpin is wise but does have a mischievous streak that I think also helped in making them both get along. Qrow is much more perceptive than he appears and that's also good for dealing with someone as secretive as Ozpin.

Fair Game also had a very good start ! The relationship was admittedly a bit tilted toward Qrow's recovery in the show, but they were nice to see together. Clover was perceptive & caring as well as patient. All great qualities for a relationship with Qrow, who has a hard time breaking down his walls and a shot mental health. At the same time, Atlas is very professional, straight-to-the-point and I think Qrow is a real breath of fresh hair in that environment. He brings a different viewpoint to the table, he's very loyal & caring and it's clear that his sass amused Clover greatly. We didn't get to learn enough about him, but Clover's VA hinted that Clover's trust was a fragile thing and he wasn't a fan of showing vulnerability. Qrow, who gives everything he has in all his relationships, would have been a great balm for that uncertainty. So yeah !

My least favorite ship(s) for the character

There are, of course, any & all ships between Qrow & the kids or Qrow & Salem's team. But outside of these obvious "nope", I'll have to go with Jailbirds. This is COMPLETELY personal but I have a really hard time liking Robyn's character as of V7 end/V8 so I'm barely interested in her dynamic with Qrow. I did appreciate her talking down Qrow from revenge because he was only doing it for his own sake but... That's about it. I find her way too abrasive (hidden behind her shiny Robinhood looks). And whereas Clover (imo) was pretty good at getting Qrow to face his issus head-on & building him up, I feel like Robyn relies more on humour & deflection... Which is an art Qrow is already acquainted with, and not the best coping mechanism for him. Aaaand I just feel like she put Clover down several time in order to lift Qrow up. That, plus the queerbaiting controversy, plus her having indirectly participated to Clover's death... The ship makes me a bit uncomfortable.

My fav & least fav platonic relationship(s) for the character

My fav platonic relationship for Qrow is his bond with Ruby ! I really hope they bring it back because these two were GREAT together. Ruby's admiration was adorable. Qrow's nonchalent but clearly protective streak. They care about each other A LOT and I really loved them together. I hope they can have more moments together like back in V3-V4 or V6.

I'm not sure what my least liked platonic relationship would be. Saying Robyn again feels like beating on a dead horse but I don't really have a problem with any other ones. They're all, if not kind & good for him, at least interesting (like Raven)

My favorite thing about the character

The combination of his sassy/cynic personnality and how loyal & caring of a person he actually he is. Qrow is rough around the edges, leans easily into banter but he cares so damn much. He fit so easily next to Ruby's peppy enthusiasm in Vol 1-3, and then he was just an incredible badass and yet so damn vulnerable human in Vol 4-6. I liked that about him. How all the pieces fit together

My biggest criticism for the character

Well I have 2 things to say about that. First : V7C12 With Friends like these. What the fuck was this episode qkfazkfhkgh Qrow's brain was nerfed SO DAMN HARD, I was genuinely pissed while watching the episode. This was just a string of dumb decisions from everyone except Tyrian. But I digress -

In a more general sense, I'd say... putting Qrow in the sidelines. Him falling further into depression was a sound decision. It was interesting and fitting of his character imo. But I feel like they tied "Ruby having enough of his alcooholism" and "Ruby growing away from adults" in a way that kind of.... just put Qrow to the side and doesn't allow him to do much. In V6 finale, Qrow expresses understandable concerns about their plan to steal an airship, but instead of dealing with that Ruby's frustration with his cynicism is aired out and... the timing kind of makes the whole thing weird becaus Qrow isn't allowed to disagree with their plan ("we'll do it with you or without you") and then has to trust Ruby and let her go which AGAIN is a great moment in itself. But all that put together just like... rid Qrow of his function as a parental figure because Ruby is the leader now and he's just... kind of following along.

When was their writing at the peak according to me (ex : best season)

Okay for this one Q, I'll have to go with Vol 4 and Vol 6 for very different reasons. V4 was great because we really got to get to know Qrow. His complicated relationship with Raven. How BADASS his encounter with Tyrian was I freaking loved it. What his semblance and how it shaped his life. And it also let him be vulnerable through the poison & seeing Ruby repay his care was very nice.

Vol 6 for fleshing out, taking his issues & drinking more seriously. Showing more hopelesness and cynicism, and that he had a real drinking problem and he wasn't just a fun drunk. Plus the loss of faith in Oz showed how much Qrow needs stability and secure certainties to orbit around despite his nonchalant personnality. But I like it a bit less because it was the starting point of putting him on the side kind of.

A song I think fits them & why

Ship in a Bottle (Steffan Argus) ➸ A song about being alone in your fight, in the sense that your life is like a sail on the ocean and you are the only captain, the only one who can choose what to do with it. At the same time, there are several mentions of a "captain" as if the singer/Qrow adresses someone else. It's reminiscent of his relation with Ozpin or Clover : speaking of a deal, of being honest and sharing what's on your mind. Qrow thinks too much, he's scared and he sinks more & more as he delves into his cynicism (V6). Qrow cries, things get worse, the mention of the glass echoes his struggle with alcooholism. And the Scarewrow loses his brain, "lose touch with all the things that made [him] feel sane."

+ Problem child (Simple Plan) The Star song (Amanda Palmer) Would anyone care (Citizen Soldier) Wasted (8 Graves)

A headcanon to make up about them

Qrow didn't have the most normal childhood and because of that he had to learn a lot for Ruby & Yang. Notably, Qrow had absolutely 0 notion of what was an appropriate presents for young girls. As a result, he tended to simply bring back from his travels whatever shiny thing might have caught his attention. Could be a weird flower. Could be a pretty knife. Or even junk that his corvid brain latched upon.

Tai designed a look(Tm) that Qrow learned to recognize as "No, not appropriate." After a while, Yang learned to mimick it (but rather at random, she didn't really recognze what was appropriate and what wasn't). Ruby always liked his presents though.

What I would change about them if I was making a re-write

I CLEARLY would rewrite V7C12 so that Qrow & Clover keep their brains kzjhfkqhzk There were ways to reach the same conclusion without like... having a Qrow-Tyran team-up which was REALLY weird

I see 2 main possibilities to stick close to canon content - After the crash, Tyrian gets free but he keeps playing dead for a bit. Since there is no 3rd menace, Clover and Qrow's argument devolve into a fight as seen in canon. At one point, Clover manages to briefly disarm Qrow. They discuss for a bit, you can even put the exact same dialog as in the ep. Then Tyrian takes action, moving out of the shadows to kill Clover with Qrow's discarded weapon. Braincells saved. OR - Instead of having Qrow & Tyrian outright team up, Tyrian just... keeps instillating doubts in their mind. Qrow & Clover are temporarily allies in taking Tyrian down but because of this, they don't TRUST each other which cause missteps and make them less effective. At one point, Qrow tries to attack Tyrian who is behind Clover. But because neither Qrow nor Clover really have faith in the other at that moment (and because Tyrian is poisonning their mind), Clover automatically steps back or aside. He doesn't entirely trust Qrow. Because of this small hesitation, Qrow's attack fails. Tyrian manages to disarm him. Tyrian uses Qrow's weapon to kill Clover. There could even be some message here about the lack of Trust & letting Salem divide friends... something of that caliber in any case 🤔 It can even parallel V3 where Qrow did the same thing with Ironwood & Ironwood refused to stand aside even if he thought Qrow meant to attack him... Could lead somewhere ! Like, in V3 Qrow had faith that Ironwood wasn't to blame. Only Ironwood feared that Qrow blamed him, but Qrow knew & trusted that Ironwood wasn't to blame. In other words, Salem didn't divide them. Here, Qrow & Clover let Tyrian get into their head. And as a result Clover dies. "Together we stand, Divided we fall"

My guess for their MBTI/Enneagram

I'm still mulling on it right now but I think he might be some kind of ISTP 416. He has some weird 7ish behaviour but his need to orbit around someone/a goal, his relationship with Oz, how close he stuck to Tai & Summer sounds closer to 6 fix. He wants people to go home to. Certainty and security. His independance definitely is there but seems emphasized moreso out of necessity.

One aspect that I think would be nice to delve deeper into ? (optional)

I'm not sure mhmmm maybe his relationship with Summer ? It would be both cute & interesting. As well as finally giving us insight into who Summer was

[bestworstcase]

What would you have thought if Madam Canardist was designed and characterized without the racially negative stereotypes against the Romani people and voiced without an accent?

she’d be a completely different character in that case. 

her basic role in the story, as a character accompanied by a disguised/shapeshifted demanitus, who ends up facilitating the important exposition in lost and found, is completely fine on its own. so, i wouldn’t have a problem with a different, hypothetical non-racist character filling that role

in the context of... sticking with canon and the episodic cartoon format and trying not to deviate too much from the canon plot, here’s how i’d design that character:

1. obviously just... completely scrap her canon visual design. i think she should still be a woman of color, because there aren’t enough women of color in tangled. actually you know what this is all hypothetical so let’s get real self indulgent with it and say she’s voiced by and modeled after ciara renée, Because Reasons.

2. she’s still named canardist, but to lean more into the pun, demanitus’s shapeshifted form is a duck, not a monkey. [in english, a “canard” is an unfounded rumor, story, or hoax, and in french, a “canard” is a duck. :P]

3. she’s a village bard and team corona first encounters her in her hometown of fortuna. rapunzel and eugene are on a date, rapunzel sees this woman chilling with her lute and her slightly deranged looking duck by a fountain or something and is like !!!, and canardist not-very-begrudgingly agrees to perform, like, the epic ballad she’s composed about the town’s history. 

4. it turns out that the history of fortuna’s founding is absolutely fucking bizarre, like this town is a total weirdness magnet and all kinds of utterly bonkers stuff has happened and when canardist finishes the tale eugene is like hahaha, yeah right. canardist, put out by his skepticism, is like “look my duck is psychic fortuna is just Like This okay” and eugene loses it. 

5. rapunzel is intrigued by the psychic duck and wants to pay for a fortune, but canardist is like no way, your boyfriend is a jerk, get lost, so they go. they stop in the market to pick up supplies on their way back to the caravan, discuss eugene’s cynicism, hear some rumors about the thieves who’ve been terrorizing the town lately. rapunzel persuades eugene that they should loop past the fountain again and apologize to canardist for him, you know, laughing in her face and insulting her pet, and when they get there the duck is gone and she’s distraught because two kids grabbed him and ran off. cue the rest of the canon plot of vigor the visionary, with the girls and everything. except vigor is a duck. 

6. in the end, they bring vigor the duck back to canardist, and to thank them, she offers rapunzel one of vigor’s fortunes. it’s vague and confusing and won’t come into play until, let’s say happiness is—when we (and rapunzel) realize that it was warning her not to fall for the illusory happiness offered by the lorb idol. eugene is still skeptical, insisting that the “fortune” was vague and it only lined up with the events on the island by coincidence. 

7. now—fundamentally, bards were chroniclers. they recorded history. and canardist, being a rather good bard, figured out pretty quickly just who rapunzel is and, after team corona left fortuna, decided “you know what? that’s history in the making. i’m going to follow them and write down what happens.” 

8. so she hops a ferry across the sea and waits for them on the other side. rather than the whole lombard’s pass / telescope theft / nonsense with the curse, the episode after peril on the high seas is shenanigans with canardist being all, “i want to join your group and chronicle you” while team corona is like um. there’s a b plot with vigor the duck kind of terrorizing eugene/following eugene around and refusing to be shooed away; the a plot maybe has to do with a clash between canardist, who’s accustomed to nobility paying her for the privilege of having her chronicle their lives, and rapunzel, who has Uncomfortable Feelings about being important enough for a professional bard to be wanting to travel with her and write about it; maybe they still have to cross lombard’s pass, canardist helps (she’s a bard, she’s well traveled, she probably knows a trick or two), and at the end of the episode it’s like—okay, rapunzel’s not comfortable traveling with what’s essentially a biographer, but she and canardist come to some sort of agreement to go their separate ways but with the understanding that canardist is going to trail after them and interview people about what they did and at some point, when she’s ready, rapunzel’s going to give her side of the story.

9. canardist gets tied back into the narrative in brothers hook. this time it’s not because she’s following them, but because hook hand’s a friend of hers and she, completely independently of team corona, decided to show up and support him at his big gig for king trevor. it’s a much more amiable meeting and, after hook foot leaves, rapunzel decides to invite canardist along. because she’s doubling down on her decisions in the great tree, she feels more secure than she did the last time they met and letting canardist chronicle their journey no longer seems as scary. so canardist takes hook foot’s place in the party.

10. her presence then becomes yet another thing putting pressure on cass, because the thing is... it’s clear that cass is just a footnote in the story canardist is chronicling. she’s not important, in the context of the history they are making. rapunzel is. cass is on track to end up as rapunzel’s nameless bodyguard in this ballad canardist is writing and she tries not to let that bother her but it really really does. 

11. i think it’s sort of funny if canardist gets just, completely skipped over by all the whacky evil shenanigans in the shell house. because tromus recognizes that vigor the duck is demanitus and he’s like okay, that’s a grenade i’m not going to touch with a ten foot pole, and zhan tiri is like yeah good call, so canardist ends up just like, sipping tea and casually strumming her lute and making small talk with tromus while the rest of team corona gets terrorized by mirror demons and time-twisting tops and lotus dreams. 

12. so lost and found. there’s some tension in the group because canardist wasn’t harmed by anything in the shell house and that has eugene feeling just a mite suspicious, and maybe cass is backing him up too to distract attention away from what she went through and her “do i take the moonstone or not” dilemma; and partly to smooth it over canardist is like look, rapunzel, eugene, take vigor, he has something he wants to show you.

13. by this point everyone is sort of used to canardist talking about vigor like this even though he is, to all appearances, a slightly deranged duck, and rapunzel is insistent that canardist is completely trustworthy so she’s like okay!! sounds great!! and drags eugene along. the maze stuff happens. vigor reveals himself to be demanitus. it’s basically canon except he’s, you know, a duck. also it just occurred to me that i never specified what kind of duck i’m imagining when i say duck so i feel the need to do that now: 

one of these guys, but like, a little bedraggled and crazed-looking. it’s the red eyes that really sells it. 

14. anyway vigor also reveals that, yes, canardist knew he was demanitus the whole time; turns out she comes from a long, long line of bards stretching back to an ancestor of hers who knew demanitus and agreed to protect his undying birdbrained duck vessel until such time as he was ready to emerge. eugene feels bad about distrusting her, they make up at the end of the episode, she slips him vigor’s fortune about one of the group turning traitor in the dark kingdom. he’s like, fuck.

15. destinies collides happen, cass gets the moonstone and fucks off, for the rest of s3 canardist’s role is like... she and vigor stick with the group, she’s still chronicling them, but she also, because of her own history with demanitus, is able to help fill in some of the gaps; she reveals to rapunzel that gothel was once a servant of demanitus—and betrayed him for zhan tiri, and then betrayed zhan tiri for the sundrop. basically she’s how we get more of the the gothel+zhan tiri lore we were all craving in s3

16. other s3 stuff—maybe with her help team corona starts sketching out a plan for dealing with zhan tiri immediately after race to the spire, rather than putting it off until plus est en vous. maybe she gets to be a kind of foil to cass; as a bard, she’s always the one telling the story—never participating in it directly—and perhaps she has some complicated feelings about that that could parallel cassandra’s feelings about always being in the shadows, just a footnote, just a bit player, never someone the story is about. maybe she can have a cute bonding moment or two with varian the demanitus fanboy or xavier the legends buff. also whacky vigor and canardist shenanigans during lost treasure are mandatory. anyway the point here is, she’s not just yeeted out of the story 

[dent-de-leon]

Because I’ve gotten countless asks and shitty replies on all my posts about this, I’m addressing it right here and now--why I still ship sheith and it’s not “dead,�� here we go:

So, let’s get started with the dreaded ages thing that always comes up, just get that out of the way. According to the guidebook, they were 18 and 25 respectively at the start of the series. Shiro hasn’t aged in the astral plane. Since, you know he’s been dead. And it's more or less implied that Shiro has been gone for months, and then they meet Lotor and there's the whole time that conflict plays out, then we fastforward to after he lays low and keith says "Lotor hasn’t been seen for months.” We can infer that more or less a year has elapsed since Shiro’s death/disappearance. Adding in the two year time skip, that puts them at about 21 and 25 respectively. You know, a completely reasonable age difference. 

There’s literally nothing indicating Keith was adopted by Shiro period. You realize the guy was probably like 19/20 around that time, right? No 20 year old is out here going to college and thinking ‘hey, why don’t I adopt a teenager?’ I should know--I sure as hell aren’t. You barely feel like you can take care of yourself and a houseplant at that point, let alone a whole other person. 

People claim that Shiro had the “power” to send Keith back to the home because he was his guardian?? That’s not the case. He vouched for Keith, which is how he ended up in the garrison in the first place. When Keith tells Shiro to just throw him back in the home, he’s referencing something said by the other officer only moments before--the only reason he’s here is because of Shiro. One word from Shiro, and literally the whole thing’s off. Keith has very limited options here, and he knows it. 

Shiro seemed to be a recruitment officer sent to Keith’s school to look for new cadets. We can tell because Keith isn’t in the cadet uniform in that shot--he’s in a school setting in plain civilian clothes. Shiro is standing at the front of the room in his officer uniform, and it seems that the teacher is introducing him as a kind of guest speaker. Then there’s the flashback where he and Keith are standing beside Kogane’s hoverbike, implying that Shiro saw his skill as a pilot firsthand and was determined to get him in the garrison--to secure him a better future. Krolia’s thanks to Shiro is in relation to what we already know--that Shiro was there for Keith when he had no one, that he led him down the right path and changed his life for the better. His “guiding light,” as the show runners have said. 

But then they got older, and it’s very clear their relationship changed. The two are equals from the start of season 1, that much is obvious. Now that Keith is older, he’s able to protect Shiro in turn. In fact, more often than not, he’s shown to be the one caring for Shiro instead of the other way around. He’s the one always running to Shiro’s rescue and saving him from certain doom. Some people are so stuck on the flashback, but it’s painfully obvious that he’s no longer a child--after the time skip, he’s been explicitly referred to as a man. I think Keith looked up to Shiro a lot when he was younger, but now that he’s so much older and they’re closer in age, now that he’s had all this time to ruminate on it--there’s clearly something else there.

And Shiro sees Keith in a whole new light in turn, which is clear when he’s so thrown off by seeing older Keith. “Lance is right. You have changed.” I don’t understand how people can acknowlege two characters can change without their relationship evolving in turn--these have always been dynamic characters, nothing is static. It’s like how people claimed Allura was still annoyed by Lance and wanted nothing to do with him after she explicitly said she enjoyed his company. You can acknowledge that characters’ relationships are subject to change, that they can grow and develop and be organic, and move on. 

People latch onto the brother line and insist I can’t read, but then promptly ignore the fact that Kuron was completely unmoved by it. The thing that actually breaks through to him, that yields a very gutting, visceral reaction--that’s Keith’s breathless admission of, “I love you.” He also looks completely shocked by it, which doesn’t make any sense if this was coming from a familial love context that he was familiar with. 

In this season, sheith also covered a number of timeless romantic tropes reserved for a character’s love interest. The same exact tropes that fans praised as High Romance when they presumed it would be in relation to k/l, but then immediately backtracked to “oh,, it’s just familiar!!” as soon as those plot points were given to sheith instead. Shiro and Keith’s relationship is also shown to directly parallel Kogane and Krolia, as well as Zaggar--both canon romantic relationships. Not to mention the very noticeable korrasami parallel. You know, as if their relationship was designed to be interpreted as romantic. 

This is also literally the one and only declaration of I love you in the entire series, something not even explicitly romantic couples like Keith’s parents or Zaggar have shared. It’s completely unique to Shiro and Keith’s relationship, and holds just so much gravity to it. This isn’t even taking into account that distinctly romantic variations of “love” were used in other dubs, such as the Japanese aishteru. 

Nevermind that it’s common for someone that’s gay to refer to a close friend of the same gender as being “like a brother/sister” to avoid confessing their true feelings. Hell, I’ve done it before. And I’ve seen so many other LGBT people express relating to that aspect of Shiro and Keith’s relationship, that it’s a struck a cord with many other fans like me. 

When you’re talking about wanting LGBT rep--rep that Lauren and Joaquim mentioned they have been working towards and fighting for since the beginning--but then you willfully ignore and tear down the one relationship that’s been built up like that, when you understand that they might not have been able to get the explicit rep they wanted but still demonize the subtle hints of it, when you make actual LGBT fans feel like shit for identifying with this sort of narrative--you’re really missing the point. 

You know what else is very telling? That this was the one episode Joaquim directed himself--he cared so much about Keith and Shiro’s dynamic, he wanted to just go all out and really made the episode his. That’s how much this episode--this dynamic between Keith and Shiro--mattered to him. Here’s some commentary on it:

Marc: “Speaking of credits we’re not used to seeing—Joaquim, you wrote an episode!”

Joaquim: “I did!…Super excited. You know, it’s one of those things that I wanted to do for many, many years now, and finally got to an EP position. I said, ‘Guys, I’m just gonna write one of these things. And, you know—I’m emotionally attached to both Keith and Shiro, and had some ideas on how that episode could play out.”

Marc: “So you’re the one that has to decide how the battle between Keith and Shiro pans out.”

Joaquim: “Somewhat. Along with a consortium of awesome writers, and Lauren, board artists—yeah.”

Lauren: “Everything in animation is teamwork, but it was definitely Joaquim’s brain child. 

Joaquim: “…when you’ve gotta go back and do painful story edits on scenes that you wrote, it feels like somebody’s limbs are getting cut off.” (source)

Let’s also not forget the brother line has been used for a number of relationships that still became canon--Aang and Katara, Ed and Winry, Ginny and Harry, ect. And lastly, before you still want to call me a monster, let’s not forget that the staff supports sheith in a romantic context, and has since the beginning. They also are more than happy to talk about their intimate relationship. But I mean, of course,, the staff must hate us for this, right? Surely, they never intended for this relationship

to be interpreted as

potentially romantic,,

And sure, it could be that sheith will never be canon--or that it will to some degree, but not explicitly--either way, there’s literally no reason to demonize other fans for shipping it. Especially when the staff themselves have always supported it. If you think you need to take the time to comment on every single sheith post that “they’re only brothers!! You’re disgusting!!!” ect, don’t expect the staff to ever support or even tolerate you, becuase you are the reason both they and the fans are feeling alienated, you are the ones continually harassing the staff for just wanting to have fun. Besides, Shiro and Keith already have “the closest relationship” in canon--Joaquim’s words, not mine--and they love one another. Literally nothing can take that away from them, and if LGBT fans see themselves in these characters, who are you to lash out at them for it? 

[afishlearningpoetry]

Looking Closer at How The Abominable Bride Foreshadowed and Can Be Used to Chronologically Decode Series 4:

Near the end of TAB, Mary asks why Emelia Ricoletti would die to prove a point. Sherlock explains in detail how the abominable bride executed her plan, ending on the note that she would need to use a spare body to fake her death and take revenge on her husband. “Every cause has martyrs, every war suicide missions. And make no mistake, this is war.”

In the closing moments of TFP, Mary answers her own question. Mary explains in detail how she as the abominable achieved her victory, ending on the note of John and Sherlock becoming myths, frozen in time as she watches over their silence. “I know you two. And if I’m gone, I know what you could become. Because I know who you really are.”

[Continue below the cut for more ➤]

See also: 10 Revealing Things From The Six Thatchers That Haunt You Late At Night, 10 Revealing Things From The Lying Detective That Haunt You Late At Night, and 10 Revealing Things From The Final Problem That Haunt You Late At Night. (#tw suicide)

Bonus: The levels to this:

This is the moment where Mary’s plan reveals itself and Moriarty’s revenge becomes complete. This is where all story lines converge, where all the themes complete themselves, and where all characters meet their end. John has weaved a lie so large that he’s desperately trying to keep it together, keep it from crumbling and revealing the truth, and his very last option is to invent a completely false ending with no resemblance whatsoever to what’s actually happening in reality. And the most devastating part is that John is the one writing it.

What’s actually happening in reality is that John was shot on screen as the camera faded to red, and it wasn’t with a tranquilizer. What’s actually happening is that John has come to the end of his Samarra story and wasn’t able to avoid the figure of Death. What’s actually happening is that everything has fallen apart because of the death of John Watson.

Before the end, before the very last correlation of “it doesn’t make sense because it’s not real,” Mary has one final thing to say before the screen cuts to black, before the story ends and the legacy of Sherlock Holmes and John Watson is secured in order to hide the real story. She wants to explain what her plan was. This is Mary the villain, the abominable bride, monologuing about what she’s accomplished. She wants to explain her evil plan.

It begins in TAB, when Sherlock is explaining to himself what the goal of the abominable bride was the whole time. His dream that this entire timeline is drawn from, the one every post in this series is base off of, takes shape around the news that Moriarty is returning just before he slips away. The abominable bride is about more things than just Moriarty, though – it’s about Sherlock, and him trying to justify to himself that he faked his death for a greater cause. It’s about Mary, who faked her death to get revenge on her husband. It’s also about John, who faked his death to outsmart everyone else into thinking he was dead.

It’s about Moriarty too, of course, and Sherlock trying to accept what Mycroft told him before he slipped into his dream. This is why the entire concept of TAB being a timeline comparable series 4 even works to begin with; because nothing specifically happens in the episode like every other one, which would just be part of a dramatic narrative or a parallel like with these specific posts. Sherlock is merely processing the same information that the audience has; it’s a reflection on what’s happened so far and an estimate of what’s to come, one that falls apart the further that Sherlock dives into his own mind.

And the cases aren’t really about Sherlock figuring out how Moriarty did it; he already knows. He admits to himself that his body was never recovered and that all you need is some fake blood. The entire episode about him running from that fear and learning to be vulnerable with John in the final moments, after which they defeat Moriarty like he’s nothing.

John doesn’t share the same vision that Sherlock does because he doesn’t know that Sherlock returns his feelings. John’s story is a dark mirror and denial of the hopeful future that Sherlock imagines. He’s not able to overcome the ghost of Mary haunting him the way that Sherlock overcomes the ghost of Moriarty. John lets Mary win because he doesn’t know how else to end it.

Sherlock begins in TAB, “All that remained was to substitute the real Mrs. Ricoletti for the corpse in the morgue.” Ghosts don’t exist in this world; save the ones we make for ourselves. All Sherlock and Irene had to do was find a proper body to make their deaths convincing. And naturally, the substitute for the real final problem is very convincing. Mary doesn’t even have a body to replace; her ashes are burned in the ending of TST, cleansed by a blue fire correlating with the blessing of a priest. Unlike Ricoletti, she isn’t dead. She’s alive. When Mary sends her last video message at the end of TFP, completely invented by John, he writes her having the last words on their legacy. She has the definitive say as the two of them sit in silence and listen. It almost sounds like an order.

“P.S. I know you two. And if I’m gone, I know who you could become. Because I know who you really are.” Mary’s death was necessary for this to happen; similar to how Moriarty faking his own death and looming over Sherlock with his return, Mary is doing the same thing in order to scare John into silence. After she fakes it, she imprisons him in his own house and drugs him. She manipulates and lies to him. “John. You’ve got to remember. It’s important. I am dead.” After an episode of Sherlock and John secretly communicating through a cheating subplot that John invented to take Mary down, Mary isn’t going to make the same mistake twice.

When Sherlock calls John, he doesn’t answer. He marches around the house in a hypnotic trance. When Sherlock visits, he’s turned away at the door, given a note from John we never see. “It’s from John.” John claims to his therapist the next episode that he and Sherlock haven’t reached out to each other, a complete lie, one that John has probably been manipulated into believing by Mary.

So Sherlock’s mission in TLD becomes not just one to save John Watson, but save him according to the deductions that John left him in that note and get him out of that house. Mary’s success in manipulating John relies on their silence. Their inability to communicate, because Mary has cut it off. Then they can’t interrupt her as she tells them that she knows who they are; she knows that her dying was necessary for this to happen; she knows what she can make out of them, what she can mold from John’s scattered mind. He’s aware of this because he’s writing it.

Sherlock in TAB continues, “This time, should anyone attempt to identify her, it would be absolutely, positively her.” This is how Ricoletti was able to pull off the crime, with the help of an accomplice and a spare body. Sherlock is already setting up a contrast between himself and Moriarty, and consequently Mary. He’s suspected this whole time that he’s been alive but was desperate to believe that he eliminated Moriarty’s network so he could be back with John again. He did all of this, he faked his death and arranged a look-a-like body so that he could sacrifice himself and his relationship with John for a greater cause. He has to believe that he did this for a reason, that he won, that Moriarty isn’t coming back. Later in the scene Sherlock will start addressing Lady Carmichael only for Moriarty to pull back the veil and force him to confront the truth.

Mary can’t be identified because she died and her ashes were burned, something that John will claim despite it not being true. John can’t be accused of the crime because everyone agrees on the story that Mary went to the aquarium before him, a conversation she can’t testify to. John’s story is designe to be airtight and clean, as sterile as a perfect crime scene, but you start tugging at any suspicious thread, and the whole thing starts to come apart under scrutiny.

“Will you listen to me? Who you are, it doesn’t really matter. It’s about the legend, the stories, the adventure.”

John’s blog this season is all about hiding the true story underneath in retelling the narrative and meta-narrative of the canon. In the show, John’s blog is not important for making them famous, for detailing any of their cases or creating fanclubs around the world, what really matters about it is how it reflects John and Sherlock’s relationship. John wears his heart on his sleeve, but doesn’t understand that Sherlock loves him back, which causes Sherlock to lash out and insult it, hurting John’s feelings. How could Sherlock read his blog and not notice how John feels? How could the world’s only consulting detective not pick up on how obvious and transparent John feels? John is always trying to rationalize this as either not noticing or noticing and simply not caring, and nearly the whole time Sherlock has been trying to protect him from Moriarty. Protect him from Magnussen. Protect him from Mary. And he doesn’t see it. The legend, the myth, is all a front; it’s part of the same lie. The lie that John is retelling now as the death of the story and the death of John as the author.

Mary erases all of this by telling them none of it matters. It doesn’t matter that John doesn’t post about anything after the wedding, and then lies his ass off about everything being perfect at the beginning of TST. It doesn’t matter that Sherlock overdosed because he thought he was never going to see John again. It doesn’t matter how she really died, if Mary Morstan ever existed at all (she didn’t). It doesn’t matter that John thinks they had an affair, which affects every single part of how he write series 4; all that matters is the lie. Maintain the lie and keep the story going until it ends here, at its logical conclusion, at its natural death as the whole scene gargles on itself, choking on the lies that just keep stacking on top of each other as Mary assures them that it’s fine. This is how it’s supposed to be. It doesn’t matter who they are, what they feel, or who they love. Pay no attention to the man behind the curtain. Tell another adventure. Everything will always be this and always end, here, this way.

Mary asks her question, setting herself up to answer it. “But why would she do that?” Sherlock is trying to contrast himself with Mary here; he would do all this to protect John from Moriarty, but Mary wouldn’t. She would shoot his best friend but she wouldn’t make the same kind of personal sacrifice that he did. Because if Mary loves John at all, which she doesn’t, then it has to be a selfish love. A possession, an end to the facade. And that’s exactly what Mary does to him in series 4; lies to him, forces him to maintain the lie, coverup her death until he’s completely isolated and alone, and she can complete her mission as puppetmaster. Her mission is to burn Sherlock’s heart out forever, and his heart is John. But they could have killed John at any point. What they want to do is make John kill himself. The ultimate revenge. The ultimate pain.

John lies through Mary. He forces her to speak the lie out loud so he doesn’t have to. “When all else fails, there are two men sitting arguing in a scruffy flat like they've always been there, and they always will.“ But Mary tried to kill John; he knows full well that this ending is impossible, that Mary wanted to stop it from happening. At the same time this false ending is only happening because of her, because he’s trying to make his death convincing, and when the news comes out, everyone will look back on these blogs and remember the clues he left about what happened to him. This is also, despite everything grim about the context surrounding John writing this ending, the best that John thinks he could possibly hope for. This is the happiest that he thinks he’s going to get; trapped in the same cycle of shame and silence that he’s been dancing in ever since he met Sherlock. Death might be more compassionate, because then it would be over for John, but instead he’s forced to relive it over and over, repeating the same lie to the public.

When Mary finally answers her question, “Die to prove a point?”, it finally, fully illustrates the end goal of her plan. It happens in the closing seconds of TFP, as the video of her fades, looking over John and Sherlock running off on another adventure. So that she could watch over their silence forever.  “The best and wisest men I have ever known. My baker street boys. Sherlock Holmes and Doctor Watson.”

Sherock is also driving a decisive contrast here, again; to Mary, Sherlock faking his death was just “proving a point”, a flippant comment, proving that he could do it if he wanted to, not grasping that he did all of it for John. He pretended to be dead for two years and suffered and worked tirelessly with some added torture so that he could come to John. When Mary does it, it being to “prove a point” is a much more succinct description. She did it to mold John into what she wanted. She did it to hurt them. To hurt both of them. Sherlock did it out of selflessness and sacrifice and his love for John. Sherlock also wanted to belive that his sacrifice eventually meant something, and it did; it taught him to be open with John about how he feels, and that’s what leads to the happy ending, where they’re on the falls together, as they always should have been.

When John finishes the episode on this note, it’s not a question anymore. It’s a conclusion. This is why she did it. This is why it’s happening. This is all a lie.

As John writes that who he is doesn’t really matter, all that matters is the stories, the stories he keeps in his blog that people are now mistaking for being Sherlock’s anyway, the emotions that he’s writing are all very real. Everything in series 4 can be read by how he’s feeling and what he’s doing. That’s what makes his botched death so convincing in the end. But even knowing that that’s the plan, the way that the the episode ends on the note that she won... it feels like watching the show die in real time.

John hasn’t given up in the real world. This is all part of his plan. But it does feel like Mary has won in how John is conceding that this is the best ending that John could ever hope for. No one else ever knowing, ever understanding how he feels, ever seeing just how much he loves Sherlock, as he works completely on his own, lying through his teeth before the screen cuts to black.

“Of course it doesn’t make sense, it’s not real.”

[gamerszone2019-blog]

Bullet The Dog Helps Blair Witch's Eerie Setting Retain Its Frightening Atmosphere

New Post has been published on https://gamerszone.tn/bullet-the-dog-helps-blair-witchs-eerie-setting-retain-its-frightening-atmosphere/

Bullet The Dog Helps Blair Witch's Eerie Setting Retain Its Frightening Atmosphere

Bloober Team’s upcoming Blair Witch draws strong parallels to Outlast, another first-person horror experience that’s primarily viewed through the lens of a video camera. Blair Witch has one glaringly obvious difference in its design though–and it’s something that differentiates the game from developer Bloober Team’s previous horror games as well: a dog.

“Traditionally, a Blair Witch movie involves a group of students or a group of teenagers just going into the woods and then…dying one after the other,” Bloober Team writer Basia Kciuk said in an interview with GameSpot. “But in Blair Witch, we wanted to give the player someone to connect with over the course of the game, someone to care about.” It’s rare for a horror game to give you companions. A friendly presence can provide a support system and act as a crutch that eases the dread a setting is trying to create, or prove to be an annoyance that needs to be cared for. In Blair Witch, your dog–Bullet–is neither of those.

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The Blair Witch Game Is Canon (And You Can Pet The Dog) | E3 2019

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Blair Witch is an unsettling game that takes place in the franchise’s chilling Burkittsville, Maryland woods, and Bullet does provide a nice security blanket with his presence and playful barks. But he’s also a guide that ensures you’re moving forward instead of remaining stuck in one place or aimlessly wandering around in search of clues about how to proceed. You can command Bullet to seek things out, but he’ll also bring back items that both further flesh out the history of the woods you’re exploring and remind you of just how creepy the setting is. Though it at first appears random, his misadventures almost always seem to take place in the general direction you’re supposed to go–ensuring you’re never stuck for too long in any one place.

Bullet feels like an essential component to solving the game’s puzzles and surviving the monstrous entities you encounter. For example, during one of Blair Witch’s video camera puzzles–fascinating riddles in which you need to rewind, fast-forward, and pause tapes in order to influence your reality and change the environment–Bullet pointed us in the direction of the tape we needed to proceed. And given how dark the woods are in Blair Witch, Bullet’s keen senses are essential for figuring out what’s real and what’s an illusion. “[The witch] is more like this overpowering, otherworldly force that reshapes reality,” Kciuk said. “The creatures that attack you in the game are just one of her aspects. They aren’t her. That’s not her taking physical shape. In the game, the witch just uses everything she has against you and this includes reshaping your reality, your environment, and your mind. Sometimes that means creating monsters that hunt you.”

One of the more prominent issues for horror games like Outlast II and Bloober Team’s Observer is that their open settings occasionally create moments where you have no idea what you’re supposed to do or where you’re supposed to go next. Eventually, the monotony of aimlessly wandering around the same area begins to strip away the tension that was built through the creepiness of the setting. In our time with Blair Witch, we moved forward at a steady pace through five parts of the five to six-hour game, and a sense of dread was maintained throughout each one. Four of those five chapters were fairly open, with points where you could freely explore a space, but Bullet was there to encourage us to keep going in the right direction.

Bullet, as an animal, also opens Blair Witch up to mechanics that aren’t normally included in first-person survival horror games. Bullet can sniff out and growl in the direction of supernatural threats that you can’t see, for example. You don’t quite realize how useful he is until the game takes him away from you, and during those brief instances where he’s gone, threats you were once comfortable handling become horrifying in new ways.

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Blair Witch – Official Gameplay Reveal Trailer

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“Originally, we were thinking about adding another human being, but in the end, adding another human would be just giving you another set of hands,” Kciuk said. “Because, obviously, humans can do what humans do. But dogs have totally different skill sets. So, in the end, it gives you a lot more mechanics. Also, if you have another human, it would be an equal relationship, while here, you have a relationship where sometimes one of you is more useful than the other. Bullet can find things for you but he can’t solve puzzles, for example. So you really need to cooperate and communicate with each other to fully utilize your partnership’s potential.”

This need to rely on Bullet helps build a level of trust between you and your canine companion, one that you get to shape throughout the game. After Bullet does anything, you can choose to praise or scold him. “It’s not as easy as just petting him all the time and ensuring everything works out,” Kciuk warned. “It’s much more subtle, it’s a much more complicated system. Just petting him won’t do the trick.” If you praise Bullet every time he goes off on his own, for instance, he’ll do it more often and that might lead him into getting into trouble.

Bloober Team didn’t want Bullet’s inclusion to transform Blair Witch into a difficult escort mission though–and from what we’ve seen, the studio seems to have succeeded in steering clear of that outcome. How you treat Bullet merely shapes your relationship throughout the game, so you don’t have to worry about making the wrong choice and getting your dog killed. “An annoying partnership is exactly what we wanted to avoid,” Kciuk said. “You don’t need to always take care of Bullet. For the most part, he’s safe, and he won’t always be following you. He’s more like Elizabeth in BioShock Infinite. She was very helpful, she was there for you, she had her own personality and was a great character. You cared about her but she didn’t require your protection all the time. She was there to help you.”

Blair Witch is scheduled to release for Xbox One and PC on August 30. The game was first announced at E3 2019 during the Xbox press conference, where it was revealed to be a part of the same canon as the Blair Witch movies. Blair Witch will be available via Xbox Game Pass on day one.

Source : Gamesport