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

[lyvesynth]

THIS IS OLD BUT. more side order backlog art

[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

[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? 

[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.

You need a javascript enabled browser to watch videos.

Click To Unmute

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

Size:

Want us to remember this setting for all your devices?

Sign up or Sign in now!

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s Terms of Use and Privacy Policy

enter

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.

You need a javascript enabled browser to watch videos.

Click To Unmute

Blair Witch – Official Gameplay Reveal Trailer

Size:

Want us to remember this setting for all your devices?

Sign up or Sign in now!

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

By clicking ‘enter’, you agree to GameSpot’s Terms of Use and Privacy Policy

enter

“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