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TF2 Lore and Canon vs Fanon Psychology

This is going to be a really bad incoherent 3 AM thinking post

TF2′s refusal to take itself seriously via the game and the lore has been one of its greatest strengths but also one of its biggest weaknesses, and an easy way to dismiss any thought invested into it by saying “you’re taking it too seriously”.

Pic related: when Sniper was basically revealed as New Zealand/Zealandia/Atlantis Superman, this is arguably the point where the 25-50% of people who wanted some sensibility basically gave up on the lore.

Everything that the comics have sort of established in terms of setting, history, and characterization have sort of taken TF2chan-era fanon (the bad and good parts of it) and delivered a prompt “fuck you” to it, to the point where I’m convinced the TF2 comics also exist as a way to say “fuck you” to everybody’s expectations. Re-tellings of the medium via fanart and fanfiction that present itself in a more serious light to even the slightest degree, or have invested some form of logical research, as such, are frowned upon as taking themselves too seriously. 

Again, this just tends to be standard reaction to fanon that contains a subjective/objective-based deviation from canon but it’s like any sort of dramatic or somewhat serious, logical-based take on TF2 (despite the Jeremy scene in Issue 6 as well as Sniper being shot/seeing his adopted parents in Issues 4-5, establishing yes, you can do drama in a comedy) will not belong ever and the reaction to this compared to other mediums is more harsh because of how much TF2 forces you to not take it seriously or think about it.

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shipping fictional relationships : super cool. don’t stop, ever. 

shipping actors in a relationship : if the actors are cool with it, continue.

swearing up & down that said actors are in a relationship or in love despite all evidence to the contrary : stop. oh my gOD stop.

3

Time for me to show off my two darling children.

Umbriel is currently a ghost haunting the house they were killed in along with other members of their family. They suffer from depression but throughout the course of the story, they are meant to not get over it but reach some level of peace and reach a place where they will try to overcome it.

Umbriel was an orphan, adopted into a family of five (two born, three adopted), and is trained in survival. They are always one sigh away from lighting up a cigarette and is generally not a happy person. They’re more pessimistic and uninterested in most things, actually anything, that isn’t fighting. Now twenty, they try to find meaning and purpose in an attempt to not let their depression overtake them.

The quotes were from Monster Factory because honestly Umbriel would thrive in anything that allows absolute freedom. However, they might cause the apocalypse whether it was intentional or not.

Pip is somewhat of a two in one as their current form is the small squirt with the stitched lips but they are also the tower with the razor grin and hands. Small Pip (referred to as Pip) is mute and speak through sign language, the written word, or through drawings. These methods are determined by how Pip feels like talking to others. They are more child-like and naive in terms of their interactions and enjoy simplicity.

Tall Pip (or as I call them, Pip but edgier but referred to as Piper) is not mute and very vocal. They are very sassy and foul-mouthed. They are usually harmless but that doesn’t stop them from being outright deadly, considering their hands are literally knifes that can bend.

Opposed to Pip, Piper is made from wood as the other is made from wool and fabric (like that of a stuffed animal), which make people wonder how they can both be the same person. Simply, they share an identity but not a body.

Strangely enough Piper rests inside Pip, which is unexplainable as to how Pip can keep Piper inside them with both the obvious size difference and the materials Piper is made from.