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seventeendeer · 11 months

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TF2 analysis - on cultural references, context as characterization, and how to analyze comedy

-taps mic- HELLO, TEAM FORTRESS 2 COMMUNITY !

A while back, I received an ask requesting analysis of one of my favorite video games of all time and special interest of 12+ years, and you know I just had to go and turn that into a several thousand word essay for the reading pleasure of the people.

Because that shit got way too long, I’ve decided to put it into a post of its own. Hopefully a big title and no previous context being necessary will give more people an incentive to read it. I spent a long time on it and I think it’s pretty cool, and I would love some nice attention for my effort. ;w;

The ask I received went a little something like this:

Below the cut, I will be replying to these questions individually. It touches on everything from Cold War propaganda to the media landscape at the game’s launch in 2007 to first-person shooters as a genre - all to gain a better understanding of author intent, expected audience reaction, characterization and themes.

Anon previously requested help writing more accurate fanfiction, and damn it, that is what they are going to get!! and MORE

Introductory disclaimer:

First of all, for clarity's sake: this analysis is going to specifically talk about TF2 as seen through a fandom lens. I'm going to be talking about the game as a piece of media, creator intention, and the fandom's reactions to the game and extended canon - that is, the slice of the TF2 fandom that is interested in the characters, in the world and in doing at least semi-faithful fanworks.

I will not be touching on TF2's wider playerbase or meme culture. I greatly enjoy both, but they are not relevant to the post I made that sparked this anon's questions (I will link this post in the replies, in case anyone is curious).

I also have to disclaim that any references I make to real world history in this post have to be taken with a hard grain of salt. I've done my best to fact-check everything, but I am not infallible! For a better understanding of the historical elements I talk about here, please do your own research, and approach my claims with a healthy amount of scepticism, same as you would any unsourced social media post. (Readers may notice examples I give below primarily feature Soldier, Spy and Scout. This is because I feel I have the most solid grasp on the historical events and media that informs their characters, compared to the other classes. All the classes contain these contexts and meta complexities, but in an effort to not talk out of my ass too much, I have decided to focus on the characters I feel the most confident dissecting.)

>1) What tropes was the game parodying/what cultural contexts would you say are essential to understand, in order to better understand the game?

The characters of TF2 were specifically designed as satiric takes on national stereotypes depicted in American propaganda media during the Cold War. Two easy-to-explain examples to illustrate:

- Soldier embodies the ideal of a "red-blooded American" who is strong, brave, hyper-masculine, hates foreign superpowers, loves the vague ideal of "freedom" and firmly believes America is the greatest nation in the world. He prides himself on having personally murdered nazis in the past, despite actually having accomplished no such thing (comparable to the US taking a disproportionate amount of credit for defeating Nazi Germany in World War 2; at the time, WW2 was a very recent cultural memory that made for good propaganda fodder). He fears, hates and dehumanizes communists (as Soviet Russia was the US's highly-villified opponent during the Cold War). The satiric angle: he is depicted as so brainwashed by propaganda that he has become immune to facts and logic. He is horribly sadistic, brutal, paranoid and xenophobic. The ideal he is based on is portrayed as shockingly and disproportionally violent and illogical to the point of being laughable.

- Spy is based on how the US viewed France during the Cold War: as a weak, cowardly, “unmanly” nation. At the time, France was depicted this way because they were perceived to have surrendered to Nazi Germany early on in World War 2 out of cowardice. Spy is one of the least macho of the mercs, he is ineffective when fighting enemies head on, and his main method of attack is reliant on trickery and “not fighting fair.” The satiric angle: Spy isn't actually much of a coward - he is more intelligent, more tactical and more resourceful than many of the others, and simply doesn’t feel the need to risk his neck when he could be working smarter, not harder. The other characters are portrayed as a bunch of meatheads for picking on him. The negative stereotype he is based on is portrayed as largely unearned and ridiculous. (Though note that Spy is also depicted as an upperclass prick to contrast with Engineer being working class; in that dynamic, Spy is depicted as a pompous asshole, while Engie is depicted in a more favorable light. The characters are multi-faceted and no class is universally “better” or “worse” than the others, but right now I'm specifically focusing on the "Cold War stereotype" aspect.)

Notice how, while these two characters have different nationalities in-universe, they are both based on stereotypes seen through an American lens. Notice the way the American character is based on a comedically deconstructed ideal, while the character from a nation the US did not view favorably at the time is depicted as falsely judged by an unfair and ridiculous metric.

The entire TF2 cast and universe revolves on this axis! It takes old American ideals and prejudices and uses them for comedy, adding exaggeration and caveats to make those ideals look absurd.

It’s a parody of media produced in the US during the Cold War, which contained massive amounts of propaganda. It satirizes the political ideals that were glorified in said propaganda media.

Very important extra cultural context: this satiric depiction of old war propaganda was specifically designed to be instantly recognizable to TF2's central demographic at the time of release in 2007.

Older Valve games like TF2 were very specifically made to appeal to pop culture-savvy, nerdy young adult gamers. This demographic was expected to see the characters and think "oh hey, it's like a funny version of X character type I've seen in movies!"

Because those kinds of movies were still everywhere at the time. The Cold War ended in 1991. TF2 was released only 16 years later. To put this into perspective: the Legally Blonde movie came out 22 years ago, in 2001. Think about how many Legally Blonde memes are still floating around the web today, how fondly remembered this one movie is and how often it’s still referenced in contemporary media. Now consider that media produced during the Cold War was fresher in the cultural memory at the time of TF2′s release than Legally Blonde is for us today.

TF2 was never meant to be seen in a vacuum. It was always meant to be in conversation with old media that it expected everyone playing to be extremely familiar with.

I'll say that again: the cast of TF2 are based on Cold War stereotypes - comedically exaggerated - so they would clearly read as parodies to people in 2007.

Those are 3 different overlapping lenses to consider when approaching the characters.

The characters are more than just funny cartoon men with guns and an unusual amount of differing accents. They are commentary on older media trends.

Now, someone might ask - why did the developers choose this specific aesthetic and tone for their online shooter video game?

The developers have stated multiple reasons, including wanting the characters to be immediately recognizable both physically (they generally look like the stereotypical depictions they're based on) and audibly (the differing accents and regional dialects make it easy to identify which class is yelling in your ear mid-combat during gameplay).

However, I also have another theory:

It's been confirmed TF2's comedic tone was designed to combat a lot of negative aspects of shooters in the genre at the time of its creation. I have seen developers discuss that they were going for a lighthearted atmosphere to discourage player hostility.

I, personally, also think it is extremely likely the developers opted for satirizing old war propaganda partially in order to combat the tendency of other shooters often being war propaganda. Valve has always been a politically left-leaning company, with a history of depicting military-like forces and unchecked capitalism in a negative light (see the Half-Life and Portal series, respectively).

By depicting the cast of TF2 as generally unhinged, illogical and clownish, they were able to communicate to players: "War is dumb, nationalism is dumb, whatever Call of Duty has been telling you is cool is actually illogical and copying it makes you look like like an idiot. That being said, we all sometimes wish we could beat the shit out of other people in the desert with a shovel, so let's get our aggressions out in a safe, non-serious environment with no consequences. Come play pretend you're a murderous sadist blowing up equally unhinged people with us, it's silly, but it's so fun."

I believe everything from the cartoonishly over-the-top, non-permanent deaths to the deserted, remote environments, to the lack of any truly innocent or defenseless characters was all a carefully crafted foundation made to encourage players to make the informed decision to leave their inhibitions and moral hangups at the door. They wanted players to have fun and go nuts engaging in military-like violence, without encouraging pro-military attitudes in their playerbase.

For an example of a game that royally screwed up doing the same thing, just look at Overwatch - it tried to preach a "wholesome" vibe that was completely mismatched with its gameplay. Overwatch tries to justify extreme violence as Okay When Good Guys Do It To Bad Guys, which ... yeah, again, that is straight up modern military propaganda, on purpose or not (and knowing the US military’s tendency to pour money into video games that glorify war, “on purpose” isn’t as much of a stretch as one might think). Paradoxically, TF2 comes out both looking and feeling better to play, because it handles aligning player emotions VS in-game actions much more elegantly. It accounts for common pitfalls in its genre. OW jumps into those pitfalls with both legs and instead ends up looking shallow and nauseatingly twee.

Of course, all of this is personal speculation. Whether or not this was the reading that Valve intended, I do believe it's a big reason why TF2 has remained so profoundly loveable over the years - it uses its writing and art direction to put the player in the perfect mindspace to Fuck Shit Up.

It's a fantastic example of how to carefully and artfully craft something extremely stupid for maximum intended effect. It uses the strengths of comedy as a genre to its absolute fullest.

Unfortunately, because of cultural shifts since the game's release, newer fans do end up missing out on a lot of what makes this game so expertly done. Many newer fans don't come into the game with the base cultural knowledge it expected of its original audience. To gain a better grasp on the characters and enjoy this piece of media as it was intended, I think it will be extremely helpful to familiarize yourself with the material it is referencing.

For an introduction to media produced and influenced by the Cold War, I would recommend the Wikipedia article Culture during the Cold War as a starting point.

(I have skimmed, but not read, the full article; I encourage readers to be especially source-critical when engaging with pages like this that detail themes of history and propaganda - it's a starting point, not a finish line!)

>2) What themes/layers do you feel the fandom has lost sight of, over time? (or never really managed to acknowledge to begin with?)

Some of this is covered in the previous section, but I'll use this question as an opportunity to talk about another thing I feel is overlooked by fans (and, frankly, the writers of the newer comics too), especially when creating fanworks:

The fact that the characters are extremely dependent on their setup and narrative context to be likeable.

Something I think fandom culture struggles with in general is interpreting and handling fictional characters not as real, independent people who exist in a vacuum, but as the sum total of countless moving parts inside a narrative all working together to create the impression of a real person.

In a comedy, characters are especially dependent on presentation to feel like themselves. It is not enough to loyally recreate an arbitrary list of personality traits in order to create accurate fanworks - recreating the sorts of situations they get into, the kinds of people they interact with, and cherry-picking the information they have access to is neccessary for bringing out what makes the characters so charming!

This is especially important when interpreting and handling a cast made up exclusively of characters who are mean people with bad intentions, bad opinions and a complete lack of adequate self-reflection across the board.

Canon makes them all come off amazingly likeable, but this is because the writers were manipulating tone, relationship dynamics, setting, and much more to show off the characters at their most distinct, least detestable and absolute funniest.

Overlooking this aspect of writing comedy characters often leads to a very common pitfall in many, many fandoms out there - following the logic of a character's canon personality to a place they don't like, and getting rid of those personality traits to combat their own discomfort.

Making characters too kind, too understanding, too progressive, etc., is an endless source of micharacterization in fandoms in general, but especially in fandoms of media where the characters are a bunch of dicks in canon.

To be clear, I fully understand where this is coming from. Fans get attached to characters like these because they're funny (and intended to be loved!) - realizing that a character you really like would logically react in an unlikeable way if you put them into certain situations feels bad. No one wants to turn a character they love into something they find they don't love anymore.

But this is where carefully engineering your setup and narrative comes into play.

Example:

A lot of TF2 fans are queer. Queers flock to TF2 because let’s face it, the campy vibes and silly fun masculinity and weird women are like catnip to us.

But a lot of queer fans go into the fandom aspect of the game and find that ... wait, shit, these characters are not exactly pillars of progressiveness. Reconciling some of the extremist political views of the characters with queer narratives, with queer values, seems a daunting task to some. Because what’s a queer fan to do? Portray a character they love in a way that makes them unloveable? Painstakingly depict shitty, uncomfortable characterization in the name of “realism” that ultimately detracts from their own and other people’s enjoyment of the story? That’s not fun. Fandom is supposed to be fun. So, what, do they just portray the characters as miraculously having perfectly amicable social politics by the standards of the larger queer community in 2023?

Some do, of course, for their own comfort, and it’s understandable, but it’s not good storytelling. It’s an excessively shallow way of interacting with media - the fanfiction equivalent of confidently sitting down to write an in-depth, flowery review of a horror movie you watched with your hands over your eyes during all the scary parts. You cannot create fanworks that are even remotely faithful to the spirit of the canon while deliberately ignoring the core themes and author intention of the canon you’re working with. These things are, unfortunately, mutually exclusive. TF2 characters are meant to be wrong about most things politically. Hopefully my reply to the first question in this post adequately illustrates why that’s so important.

But the good news is that bastardizing canon in order to avoid making characters unlikeable also isn’t necessary.

There’s a reason Soldier, in canon mocks his enemies for everything from failing at masculinity to being disabled, yet doesn’t have a single homophobic line:

The people writing his lines figured it would detract from the character. It would hurt real people’s feelings and make the character less fun to play as, so they didn’t include it. No excuses, no explanation; it is simply omitted for the sake of likeability.

(For contrast, notice that the writers did not extend the same kindness to certain other minorities, like fat people - playing as Heavy fucking sucks when you’re fat, because every other class hurls fatphobic abuse at him. This is a fuck-up on the writers’ side; they failed to identify this type of humor as meaningfully detracting from the experience for a significant amount of players, and so ignorantly decided to include it.)

This is what I mean by “setup and narrative context.” I also like to call this “maneuvering”, because it involves selectively portraying a character in contexts and situations where they shine and instill the intended audience reaction, while steering them away from situations where they would logically act in ways that counteract how the audience is intended to feel about them.

Fanworks can absolutely do the same thing! Fanworks can even take the technique further, because they’re not bound by limited time and focus, the way the original work is!

Sticking with the above example of wondering What The Hell To Do when portraying a character who, due to the ideal he’s satirizing, should by all rights be on the wrong side of history in relation to queer rights, let me make a bold statement:

Soldier TF2 is not homophobic. He's a nationalist, a right-winger, a sexist, a xenophobe - but he's not homophobic.

Why? Because he just so happens to never encounter any gay people in canon. They happen to never cross his mind. He's thinking about other shit. If there's a Pride riot in Teufort, he just so happens to be looking the other way.

Soldier TF2 is not homophobic, because he can't think for himself. He's an idea, a fraction of a bigger narrative that he does not exist outside of.

And if he needs to encounter gay people in a fanfiction, don’t just passively follow the logic of his character to that uncomfortable place none of us enjoy going to - use that maneuvering! Make him misinformed, make him misunderstand, give him incomplete information - the character is not only a face with personality traits attached, his soul is also in the context of the story!

Make him homophobic, but he's pretty sure only Europeans can be gay (just look at them!), and it's already so damn sad that they weren't born in beautiful, paradisical AMERICA, so he pities them instead of hating them. Make him think he's successfully being homophobic, but he has misunderstood what a gay person is and thinks it's a particularly venomous type of snake (men who kiss other men are fine, why would he care about that when there are HORRIBLE HOMOSEXUALS slithering around in the desert that he needs to go blow up right now before they bring this glorious nation to ruin). Make him homophobic, but literally "phobic" - he's shaking and crying hiding inside a cupboard, and his newly-outed gay friends have to lure him out with canned meat and a trail of small American flags, treating him like a feral cat that needs a little time and space to get used to people.

That's funny. It's likeable, it's charming. He isn't portrayed as a good person, or woke in a way that clashes with the themes of his character, but with a little maneuvering, he is faithful to what makes him such a legendary character in canon - being a silly caricature that brings us joy.

If Soldier himself needs to be gay? There are ways to make it happen. Same approach. Get creative. Make it silly. Go for thematically appropriate comedic explanations, not cop-outs or realism*.

That is what I think the TF2 fandom is lacking - understanding of how to manipulate context to make a character feel like their own unique, lovable selves.

Characters are not just visuals and personality traits. They are also what happens to them, what they conveniently find out, what they happen to miss.

This is the same for every story, but it is especially important to understand in a comedy. Doubly so in a whimsical, hyper-violent, morbid comedy like TF2.

It's one of the most important layers to be able to recognize, and an even more important one to be willing to try to recreate.

*Unless you feel like doing a deliberate deconstruction, in which case, go ham, sometimes actively engaging with canon means doing some real weird stuff to it to make a certain point on a meta level. This is obviously different from the issues I described above.

>3) "even the newer official comics don't even seem to really "get" the original game" … I've had a nagging sense for years now that the TF2 comics don't really match the game, tonally -- which has admittedly soured my enjoyment of them -- but I've never been able to put two and two together and fully determine why that is. What would you say they've failed to "get" about the work they're based off of?

While I very much love the newer comics on their own merits, I do think they are wildly removed from the game, and lack a lot of depth by comparison.

I believe the greatest failing of the comics, especially the long-form comic, is that the writers do not seem to be aware of either of the subjects I covered above.

They do not handle the satirical aspect well. The newer comic writers don't even really seem to be aware that there is a satirical aspect - they treat the world as just a silly version of mid-1900′s media, with a narrow focus on silver age comics (which were primarily superhero comics, not an easy genre to match with TF2′s more grounded setting - see the comic’s limp attempt at doing a Superman parody with Sniper) + a dash of the Man’s Life magazines (would have been a good match, if not for the fact that it’s primarily used as aesthetics, with no attention given to themes the way the game does with its own media references). They attempt to write parody only, and even the parody aspect is a hollow effort. Crucially, the writers don't seem to have much of an opinion of the old media properties they're parodying, and without opinions to guide a parody, it becomes shallow and lifeless. "Mid-1900′s media was a bit silly, right?" isn't enough of a hot take to justify its existence. It needs an axis on which to spin to feel complete.

Reiterating the point I made in my answer to question 1: the game's satirical aspect circled the point that was "American media made during the Cold War pushed a narrative that was illogical and ridiculously misaligned with reality."

Its absurd humor is grounded in reality and follows a thematic red thread that the comic does not. As a result, the comic (again, primarily later entries) loses a lot of the sting and edge of the game.

Even though the comic attempts to be more serious and "dark" at certain points, the much more silly and easy-going game (and Meet the Team videos, not to mention) comes out looking more mature, interesting and layered, even though many of the layers remain subtextual. The game is fully married to comedy and has no intention of "getting real", but it is loyal to the spirit of satire. It has opinions. It has bite.

In the game and early supplementary material, there is a dread and horror in the subtext that the comics tried to bring to light later on, but the comic writers didn't know what the scary thing behind the curtain was.

The scary thing was - is - the Cold War.

The scary thing is the dread injected into the genre it's satirizing by people who wanted American readers and movie-goers to be afraid. Scaring people into compliance, into finding a sense of safety and comfort in their national identity, was the entire purpose of many, many pieces of media released at the time.

The comic writers didn't notice the subtext and figured they had to make up their own reasons for why the world of TF2 is so utterly fucked.

They didn't understand the cultural context, and they missed the mark entirely.

This also hindered the comic writers' ability to reproduce the game's humor and characterization. Without understanding where exactly the game's humor was coming from or why the characters were so likeable despite being horrible people, they lacked direction. They made the characters at the same time too impassionate, too stupid, too uncaring, and too nice. All together, the characters became less interesting, less likeable.

Example:

- In the game, Spy was not intended to be Scout's father. Spy having a relationship with Scout's mother emphasized Spy's craftiness and intelligence (undermining the enemy team not only through brute force, but through infiltrating their personal lives), and showed off the strengths of his aforementioned "softness" and sentimentality (he's the only mercenary shown to have consistent luck with women). It also emphasized the flaws in Scout's worldview, and his status as the team underdog, and showed a clear contrast to Scout's non-existent love life. Spy came out of the situation funny and likeable because he 1. was portrayed as cool and capable in a way the other mercs aren't, and 2. his softer side is simultaneously humorously endearing, consistent with the rest of his characterization, and highly informed by the satirical aspect of his character in a way that clicks perfectly thematically. Scout comes out of the situation likeable because his ego is balanced out by his bad luck - you can simultaneously see that he's trying too hard and why he's trying too hard. Spy and Scout's dynamic in-game is also fun and interesting, because you have a tough, hyper-violent, wannabe-macho young man who is desperate to gain the respect of both his team and his enemies getting freaking owned by a guy who is nowhere near the impressive-tough-guy ideal Scout strives to embody. The game's satirical points inform the characters and their actions, which gives the comedy depth and nuance, which in turn makes all characters involved fun to watch and easy to get invested in. It is the establishing of and subsequent pointing-and-laughing-at an ideal that produces engaging, character-driven comedy in this situation.

- By contrast, the comics decided that Spy was Scout's father. Spy's motives for getting involved with Scout's mother is no longer about gaining intel on his enemies. In this version of events, his motives are reduced to merely wanting to reconnect with an old flame. This completely undermines the dynamic described above, for multiple reasons: the situation no longer shows Spy as having a particular skillset that sets him apart from the other mercs, he is no longer portrayed as emotionally "softer" than the others (in fact, having left a poor woman to raise and feed 8 kids on her own while he was off enjoying his upperclass life makes him look incredibly cold in a way that is distinctly unfunny; I don’t think the writers thought this part through), Scout's comedic poor luck is no longer on display, and the "macho character is humiliated by the type of guy he respects the least" satirical aspect no longer works. There is an attempt to replace it with a mutual "ugh, I'm related to this guy?" running gag, but it's a very pale substitute for the layered, strongly characterized, thematically appropriate dynamic present in the original game. Spy comes out of it looking like more of a cowardly, cold-hearted fuck-up than a hilariously brilliant tactician with a heart. Scout comes off way too pitiable, because he is not responsible for his own misery here, and the person horribly bullying him and picking apart his self-esteem on the battlefield is his absent father who abandoned him as a child. He's not an objectively badass character who nonetheless fucks himself over in humorous ways trying to chase an ideal that objectively sucks - he's just a regular shitty guy who ended up in bad circumstances because of things outside of his control.

The comic writers didn't understand what Spy and Scout respectively represented in the game, and because of this, they didn't realize they were taking the characters off the rails and making them much less interesting as a result. They didn't realize they were killing off an endless source of comedy that supported the game's satirical angle in a fun, unique, dynamic way.

It resulted in a flat, flavorless subplot. It had some superficial attempts at "heartwarming" moments ...

... but here's my take: if the writers wanted to include more warmth and sincerity in the comics, wouldn't it have been way more heartwarming if Spy started treating Scout as his son even though he wasn't?

Would it not have been way more endearing to see him look out for his girlfriend's child, not because he has any personal ties to him himself, but because he knew if anything happened to Scout, his mother would be devastated?

Why not build from there? Why not make it an active choice? Why not preserve the existing dynamic and themes, and just follow that narrative thread to its logical conclusion?

Spy has an established sentimental side. Scout is desperate for approval. The reluctant surrogate father/son development practically writes itself. It would have been such a good way to explore TF2's themes more explicitly, too!

But again, the comic writers did not seem to realize the game even had themes.

I do like the newer comics. I do think they're really fun, and I did even enjoy the "Spy is Scout's father" subplot in its own way. But this complete inability to identify the game's themes, and thus the source of all its comedy, and thus the red thread defining characterization - it resulted in supplemental material that was lackluster, directionless and unable to scratch the same itch the game does.

They're good comics, but they're hardly TF2 comics.

>4a) … Sheerly out of curiosity, how do you feel Expiration Date holds up, in comparison?

Similar to the way I dislike Spy being revealed to be Scout’s biological father for coming off as a stilted, superficial attempt at being “heartwarming,” I also immensely dislike later supplementary material trying to promote Ms. Pauling to Scout’s recurring love interest for the exact same reason. Expiration Date pushes this subplot way past its breaking point and shows off extremely well why the “jerk characters are secretly a bunch of softies” treatment is so deeply, deeply out of place in TF2.

Back in the early comics, Scout hitting on Miss Pauling was played as a joke at his expense. He was an idiotic, sexist guy incapable of talking to a pretty woman without trying to fuck - she was a highly skilled and deviously manipulative minor character who mostly existed to show off how dangerously competent the Administrator and her people were. Scout acting like an utter dumbass too entrenched in his own limited worldview to notice what was happening right in front of him was important characterization for him, Miss Pauling’s quiet, calculating efficiency was important characterization for her boss, and their clashing personalities set the tone for the dynamic between the entire team of mercenaries and the conspiracy going on right under their noses.

Expiration Date chose to eliminate these layers and invent a completely new conflict for these two specific characters to go play with in a corner, which had nothing to do with their original characterization or the larger plot. Scout is now portrayed as being genuinely in love with Pauling, even noticing small details about her mannerisms and knowing about some of her interests, even though the entire point of their original interactions were that Scout was so busy trying to live his tough-guy-with-a-pretty-girl-on-his-arm fantasy he did not bother to listen to or learn anything about the women unfortunate enough to cross his path, allowing Pauling to carry out her job without causing suspicion.

Instead, Scout’s sexist approach to interacting with women is played for sympathy (”he’s actually a romantic underdog because the lady he likes accurately clocked him as an idiot!”) and inadvertently validated (”once she gave him a chance, she found out he’s actually a pretty okay guy!”).

In the process, Miss Pauling loses far too much of her usual competence, being visibly freaked out over having to perform a job she’s been shown to handle with grace in the past, and being taken aback by what should by all rights be routine weirdness in this world, all so she can have an eye-roll-worthy forced positive reaction to the entire experience at the end of the short, in a weak attempt to justify why she comes to like Scout more despite all the trouble he’s caused for her and wants to spend more time with him in the future.

The romance subplot is only made possible because the characters are heavily edited compared to their past portrayals, is only able to develop in the direction it does by aligning itself with the values of a character who existed to be a laughable, obviously-mistaken caricature, and is only able to distill a happy ending to the whole mess by stripping the other character of personal standards and agency.

Scout and Pauling are frankly two halves of a whole shitshow in Expiration Date, because the writers either didn’t notice or didn’t care about what older works were gunning for - all they saw was that Boy Liked Girl, Girl Did Not Like Boy, and that just wouldn’t stand! After all, everyone likes romance, right?

Scout, as he is portrayed in the game and in the early supplementary material, is one of my absolute favorites of the mercs. I find him incredibly funny, and the way his hyperactive, fun-loving, jokey traits overlap with his intense bloodlust (literally - he’s the class with the most weapons available that cause bleed damage!) and barely-suppressed rage makes him fun and fascinating. The little man has so much unchecked ADHD and cultural trauma he just has to go and kill people about it, which is just so intensely relatable in the “forbidden mood” way TF2 handles so well.

Unfortunately, I get the impression he has in later years fallen victim to the curse of being a skinny young white guy character, making him a target for writers who think every series needs a relatable everyman protagonist for either themselves or the audience to project onto (and who think skinny young white guys are the most relatable people around, for reasons you can probably imagine I’m not personally very fond of).

TF2 absolutely does not need a character like that, and butchering Scout’s established personality in the name of “relatable” and “wholesome” is first of all Some Bullshit, and second of all a lost cause. The character simply has too much baggage as an over-the-top caricature to be comfortably rewired into an author- or audience-surrogate. He’s always going to come out looking like an asshole - whether this aspect of his character turns out likeable or unlikeable is entirely controlled by whether the story itself acknowledges it.

I did find Scout and Spy's dynamic to be quite well done, though, especially if you ignore the "Spy is Scout's father" reveal from the later comics.

The idea that Spy didn't have to go and do all that, but has grown a soft spot for Scout purely because his girlfriend clearly loves her incredibly annoying boy and her happiness is his happiness, is perfectly in-character. Scout has also long been established to desperately crave approval from his teammates, and on paper, the idea of putting him in a situation where he had to let go of some of his macho man dignity, imitate Spy more closely and ultimately win a tiny bit of that approval he's been looking for is interesting and plays well with the game's existing themes.

It's just a shame Scout's motivations ended up being conjured out of thin air, in direct conflict with past characterization, for the purpose of enabling a schmaltzy, tonally dissonant romantic subplot.

tl;dr, I'm conflicted on the subject of Expiration Date. It's funny, it's cute when it's not trying too hard, and seeing the mercs dick around off the clock getting into stupid shenanigans together is something I've always wanted to see in a longer animated format. It’s largely a good time and a fun watch, despite its questionable gender politics and trope-y execution.

However, like the newer comics, it suffers immensely from writers who are simply unable to identify the themes, characterization and comedy style of older material, and thus, in my opinion, falls way, way short of its potential.

>4b) I'd be very curious to hear your thoughts on Emesis Blue, should you end up watching it.

I'll be sure to share my opinions if I ever get around to watching it!! I'm super curious about it. As I mentioned in another post, what little I've heard of it seems much more on-point thematically, and even with the characters being so far removed from their official characterization, I really get the impression this is a deliberate, informed choice, in stark contrast to the newer official supplementary material. I’ll be sure to drop some words on it if I ever get around to watching the full thing!

Anyway, that about wraps up my thoughts! If you’ve read this far, thank you for sticking with it, and please do consider reblogging - I’ve spent an insane amount of time writing and re-writing and fact-checking this, and I would love for it to reach just half of all the people who were curious about my initial posts on the subject. :’)

Follow-up questions are very welcome, though to be clear: I’m not really interested in “debating” the subjects I’ve talked about here. I know I posit a lot of hard opinions in this post and not everyone is going to agree with me and that’s fine - if you feel differently, I invite you to simply ignore me and write your own take on your own blog. No hard feelings, I just don’t enjoy those kinds of discussions. (Corrections on any factual mistakes I’ve made are of course encouraged).

#team fortress 2 #tf2 #tf2 analysis #tf2 meta #tf2 comics #soldier tf2 #spy tf2 #analyzing comedy #analyzing satire #deerchatter

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