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#this is part two of my previous post

lord-squiggletits · 2 months

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IDW is hard to read at many points and I have sympathy for those who find it difficult to be motivated to read (given that I've also done a nearly full phase 2/3 reread and still had to skip some stuff), but if people continue to not read the comics and then comment/make fanon and headcanon on things they never read, I'm simply not going to take them seriously. I would think "you should read and enjoy the source material" isn't that unreasonable of an expectation for people who are supposed to be FANS but I suppose in today's fandom culture that just makes me a dirty dirty gatekeeper

#squiggposting #semi related to previous post but also not #in genral i'm just tired of popular content and headcanon being dominated by ill informed or outright ignorant takes #i'm on my knees begging and pleading ppl just ACTUALLY READ CANON #I promise canon is fun and cool and when you look at it with your own eyes #you will find so many things that tickle your fancy that fandom never told you #bc fandom by nature only proliferates the most popular parts of the story #literally pleading. begging. shitting and crying. please just fucking read canon #and for TF IDW fans that means please read something besides mtmte/ll or at least #have reading comprehension on the things you HAVE read if you insist on only reading two books

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lizardrosen · 2 months

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How Is It that the Clouds Still Hang on You

Bridgertons performing Hamlet, part one! This wouldn't have been possible without @glintglimmergleam!

Pre-play, Anthony’s Hamlet is the eternal student, the idle rich somewhere between seventeen and thirty who still doesn’t know what he wants to be when he grows up. First sons really only have one job, and that’s to someday be their fathers; and Hamlet, like Anthony, is sure he’s getting it wrong no matter what he does. Anthony at least has the estate and his younger siblings to look after, but Hamlet only has the vague notion of someday being king, and looking through the script for hints of who Hamlet used to be, Anthony thinks for the first time that the prince must have been lonely even before his father died.

His only recourse was to take nothing seriously and sell himself as the clown of any group, and he usually managed to believe what he was selling and even enjoy himself. When Claudius popped in between the election and his hopes, those hopes curdled inside of him and he started putting up firmer, spikier walls, where before there was only wordplay and multi-layered classics references. (Anthony is actually hopeless at this kind of thing; he had to ask Benedict about “When Roscius was an actor in Rome” and “Jephthah, judge of Israel, what a treasure hadst thou!” but what was he going to do, not make Hamlet a classics nerd??)

Gregory memorizes the roles with the most lines first, of course, so he’s already gotten the bantering rhythm down for playing both halves of a comedy duo attempting to be spies. “My lord, you once did love me” is regret for the distance in age with his oldest brother, and the distance in social status for Rosencrantz and Hamlet. Osric, he unlocks when he decides this vain and silly courtier idolizes both Laertes and Hamlet in much the same way that Gregory looks up to his oldest brothers, so he and Benedict talk about it and come to the conclusion that Laertes might trust Osric enough to ask him to help kill Hamlet, but Osric would never go along with it, which means that in this production Laertes didn’t tell him what he was getting Hamlet into.

Now he has to bring the soldiers on the watchtower to life. He whirls as if to face an unexpected noise, and answers himself rapid-fire.

— Who’s there! — Nay, answer me. Stand and unfold thyself! — Long live the king! — Barnardo? — He.

It’s almost a knock-knock joke but the truth is that no one in this play really knows who’s there or if they can be trusted, and it’s an uncertainty hidden in plain sight right from the opening lines. For this dialogue to work, it has to be two people meeting in the dark and he can’t just play both roles like he does for Ros and Guil.

“Hey, Daphne, my favorite sister, how would you like the second speaking role in Hamlet?”

“Hold still, your collar’s askew, I need to fix it. Only the second role?” she asks. “Not the first?”

“Daaaph, cut it out, my shirt is fine! And Barnardo can pretty much be combined with Marcellus and not much will change because they’re both there to back up Horatio’s story, and he’s there to back up theirs. Francisco’s more like Gertrude, he never gets to see the ghost.”

“Not a mouse stirring,” she quotes. “But he’s wrong about that and so is the queen — there’s so much more stirring in her kingdom than she’ll allow herself to see. Yes, I think you’re right about giving me Francisco. You’ll make a good director for next year’s play.”

“Titus Andronicus?” he asks with a bloodthirsty grin.

“Well, we’ll talk about it.”

At first Francesca has trouble deciding how to distinguish Claudius from his dead brother — are they more alike or more different? No face paint for the ghost, she decides, and in fact they should have almost the exact same costume with perhaps a different colored sash, and it’ll depend on how she carries herself.

Claudius is personable and popular except when he’s alone and the thought of his own sin wraps around his neck, while King Hamlet has forgotten everything but the purgation of his sins, and the vengeance he must see visited on his killer before he may rest. The ghost is not all there, still half in the fires of hell, but he also has a supernatural gravity that snaps all the attention in a room to him. It’s a kind of authority Claudius wishes he could project, but as good at public speaking as he is, he always seems a little bit desperate and out of his depth, so he turns up the charm even more.

Francesca finds what they have in common, too, more than either would care to admit. “Of life, of crown, of queen, at once dispatched” says one; “my crown, mine own ambition, and my queen,” says the other. Both kings save Gertrude for last, which could either mean that she’s an afterthought or that she was the most important thing to lose or gain.

Francesca is a Bridgerton which means she’s a romantic, so she decides it’s the latter. They both just really love their wife, enough to kill a man, enough to tell Hamlet not to contrive against his mother aught, enough to come back from the dead for a few more moments in her bedchamber, enough to send Hamlet away to be executed in England instead of imprisoned in Denmark simply because Gertrude asked.

By the time Claudius gives his speech about marrying Gertrude, Hamlet has a permanent clench to his jaw whenever he’s in public or in the same room as Claudius — that shouldn’t be too hard, says Eloise, since that’s his default expression, and Benedict, who’s probably seen Anthony laugh more than anyone else, has to agree with her. But when he’s left alone, though forbidden to go to Wittenberg, he can at least relax enough to stop trying to hold back the things he shouldn’t say in front of the nobles. “How weary, stale, flat, and unprofitable, seem to me all the uses of the world!” is just full of bitter laughter, giving in to the cosmic joke that Nothing Matters. But his aspect changes completely when he sees Horatio, and he picks Hyacinth up to spin her around, even though she’s almost gotten too heavy for that.

Hamlet cannot believe that Horatio would lie to him about a ghost, or tell him anything until he’s sure of what he’s seen, but he still warns himself not to hope too hard, in case nothing comes of it, it’s something he wishes he had not seen. And despite the dull but persistent heartbeat of “nothing matters, nothing matters,” always singing at the back of his head, his father’s spirit does appear, and when Hamlet follows, he learns that there is a meaning — an awful, perfidious one, but still.

So what if he has to kill a man (so what if Anthony had to decide, eleven years ago whether they should try to save his mother or his sister), at least it’s a purpose, and when he wipes clean the tables of his memory he can fall backwards into his prior persona of taking nothing seriously, but now with the bitter armor of actually not caring what happens next.

#my writing #bridgerton #hamlet #osric #claudius #the viscount's men #<- i now have a tag for them and added it to my previous posts on the subject :D #this goes up to the end of act one; part two will be all about ophelia

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fumiko-matsubara · 1 year

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Being on the two receiving ends of social norms with Chiba and Kanzaki - a thought

I've been thinking really hard about it.

But Chiba and Kanzaki have very similar yet different situations at the same time when it comes to the whole having to conform to the societal standards/norms.

And it's really sad 💔

Because with Chiba, he struggles so much to fit in and could barely get by without getting singled out no matter what he does.

But with Kanzaki, she is the standard of what's considered "ideal" in Japanese norms, but it's far from what she actually wanted for herself and she's stuck living a life controlled by others.

And unlike Chiba who had found himself a safe space where he doesn't always have to adjust for others, Kanzaki had to maintain that ideal Japanese girl image EVERYWHERE she goes 😭

Chiba is allowed to go all out with not caring about how he presents himself until he's grown comfortable enough in his own skin overtime, exploring as many options as available then toning things down after he had his fun.

Meanwhile, with the very limited freedom she yanked with her own hands when the pressure had become too much for her to handle, Kanzaki ended up going through extreme lengths to dissociate herself from the perfect girl image forced upon her during her rebellious period. Because of that, she hadn't allowed herself to simply discover things and ponder over what feels right for her or not.

Self-confidence comes from having autonomy. Even just for a bit, Chiba had that. But Kanzaki did not. 💔

On a very shallow surface level, people would say that Chiba had it more difficult. But between the two of them, Kanzaki is clearly suffering more despite "having it better". ☹️

#this one's been brewing inside my braim since last year and I badly needed to get it out #I've still got so many analysis and thoughts about assclass that I've shared in dms that are waiting to be posted #I've said it in my previous kanzaki posts #but the proper and the rebellious Kanzaki are actually both sides of the extreme #finding a comfortable middleground between the two without fully rejecting one side that had parts she liked about would've been so healing #☹#assassination classroom #ansatsu kyoushitsu #assclass #chiba ryuunosuke #ryuunosuke chiba #kanzaki yukiko #yukiko kanzaki #my art #my analysis #meta #digital art

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phosphor-object-show · 6 months

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Phosphor Prologue: Part 2

A new arrival, the slightly less new arrival of Liquid Hourglass, and a rough breakup for Patchwork. Mary tries to find someone to listen.

First/Prev/Next

Episode Masterpost

Transcript/Description below (also in alt text):

A perfume bottle gets knocked off a shelf, and falls through the air before being caught by a humanoid hand. In this new mystical location, they are formed into a person by the humanoid. They open their eyes, which seems to surprise an onlooking eye and the humanoid, who holds them out to a doorway. Perfume arrives in a forest.

Perfume walks through the forest, eventually coming across two other objects.

Perfume: Hi. What is this place? I like the trees.

Bridget (Saddle): Oh, we’re just giving this place some life, you know!

Fairyland (Child’s Art): How did you get in the forest without knowing about this project?

Perfume: Sorry, I only just got here. Am I not meant to be here? I’ll get going, sorry.

Bridget: Hey, hold your horses! …You’re completely new here, aren’t you?

Perfume, distressed: I don’t know what’s going on.

Cut to Fairyland talking to Tablet.

Tablet: Someone arrived away from one of the documented locations? Weird, okay. I’ll come check that out.

Liquid Hourglass: Are you leaving?

Tablet: My shift was nearly over anyway. Besides, you’ve been here nearly a month, that’s a long time to stick around.

Liquid Hourglass: I’m just… figuring out what to do.

Tablet: Right. Let me know what you’re thinking if you want. I’ll be back before I leave.

Liquid Hourglass sits upside down, looking over at two objects arguing.

Patchwork: Slice, look, I’m sorry-

Lemon Slice: It's OVER, Patchwork! I think we could both use some time alone.

Patchwork sighs.

Patchwork: Okay.

Slice walks away.

Mary: Well that was… uh, hello, do you have time to hear of the three true gods and about the blasphemous ascension of the…

Patchwork walks away. A figure watches from the background. Liquid Hourglass and Mary make eye contact.

#phosphor object show #phosphor episode #phosphor prologue #cult #religion #i haven't done tag comments on the previous two #partially because i was just figuring out posting #anyway. hi #it's been interesting to figure out content warnings for parts like this. hope i'm doing it right.#don't worry about anything strange happening haha. it's fine /silly #appreciate my lighting instead. i spent so long on mary especially

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gailynovelry · 1 year

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I think I got the summary for Ember Warrior hashed out! Figured I'd post it here really quick to get a little feedback on it. I'm curious as to if it's interest-grabbing, and/or if there are any confusing sentences in there.

War has come for Rhimn. The unified feyrie courts strike back against the knights of the Irongardhe, casting the dark-winged shadow of Lady Death over Gadhi.

While Crislie wrestles with unexpected heritage and razes the frontlines of open warfare, her friends navigate the political intrigue of their Heraldry. As Meparik sets off on a diplomatic mission to convince the Ulluan Matrius to lend her aid, Navaeli parleys with the feyrie courts on behalf of General Morekai, hoping that he may hold the key to the cage of her Heraldry.

But allies may be more difficult to make than outright enemies. When Ullua is reluctant to make war with its neighbor, and the courtleaders and generals have agendas of their own, the situation might not be as straightforward as putting an ax through a foe . . .

And it’s far too easy for foes to pose as friends.

As the Ashen Army advances, the political imperatives of everyone’s roles threaten to devour them — but faltering could cost the lives and freedom of the fey of Rhimn.

#sometimes i wonder if the summaries are too melodramatic #but! it's dark political fantasy that's just how the situation is #posting here partially because i got some good help on revising the previous two summaries #but i'm a little worried that i'm exhausting the lovely folks who were helping me by having three of these things to go through #sometimes i feel . . . i dunno #kind of stuck between the chill “write whatever whenever and don't give a fuck about success” part of writeblr #and the part that's like “PUBLISHING PUBLISHING I AM GOING TO BECOME A PUBLISHED NAME WRITER”#i am publishing! but it's for fun! do not let me fool you into thinking I Am Intimidating! please please please #i wanna keep hanging out with the chill writers not the hashtag grind guys #sorry about the times where i'm high-energy about getting stuff done and move a little fast; i'm just very enthused about My Thing #and i want to do it nice for the few folks who like it #it doesn't help that my brain rn keeps hitting me over the head with the fear that everything i write is secretly Problematic and Evil #and that i'm not self-aware enough to spot how #but like. not a new fear. I'll get over it! <3

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heloflor · 2 years

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So, making that post about how I love the vibe of the Telltale characters making the main duo blend in rather than stand out and the fact that it’s a world with continuity made me think about how those games also have what I see as my favorite version of Sam and Max’s characters for a handful of reasons that I’m going to explain here.

Little disclaimer first : Note that I am in NO WAY trying to defend the bad and offensive parts of the Telltale games, neither in this post nor in my previous one. While this trilogy + Poker Night are my favorite entries of this franchise, it doesn’t change the fact that this trilogy has its issues and I can absolutely understand people disliking or even hating those games because of it.

Now, onto the things I like about this interpretation of the characters:

- First of all, out of all the versions of this duo, I really appreciate how morally gray this version is, and how they managed to balance “they’re sociopaths who only care about themselves and each other” with “they’re good people whose work is to help others”.

I mean, in the comics, the vr game and “Hit the Road”, Sam and Max are a lot more on the “trigger-happy” side, doing their jobs for the money and the free violence. In the cartoon, they’re much softer and have a more “mature” vibe to them, being more on the “do-gooder” side (while still retaining their love for violence obviously).

But in the Telltale games, it feels like they managed to mix a bit of both in their characters. Like you have Sam playing nice to pretty much everyone even if he doesn’t particularly like them (or being a troll with a smile with those he doesn’t like) or Max being able to form friendships (Sybil, Mama Bosco, Superball) despite how judgmental he can be. Sometimes, like in most of S2, they get involved in stuff because they’re curious about what’s happening regardless of what others want, and end up doing the right thing by the end.

Basically, Telltale Sam and Max are douchebags who do the right thing. They can be assholes towards some people while having friends, they sometimes save the world by accident or because they were fucking around in the right place at the right time. They’re good people, but they’re not great. And by the end of the day, they’ll always prioritize each other over everything else, with the best example being 305. Sam should be at his most selfless in order to save the city, and yet he’s at his most selfish because he cares more about Max than anything else.

- Still something regarding both (TRIGGER WARNING for mention of depression and suicidal thoughts) : while the execution in the games was meh at best and horrendous at worst, I really like the concepts of Sam dealing with body image issues and Max being hinted at having depression. In a way, I think it makes them feel more “flawed” and human by showing that, despite always smiling and acting like nothing matters/never taking anything seriously, they actually do suffer from personal struggles and are both insecure about some parts of themselves.

Tbh I find it a bit sad that no other iteration of those characters really showcases it (yes in the cartoon Sam is shown eating a lot and Max shuts down whenever he and Sam are apart, but in the cartoon Sam has no issues with his looks and Max’s situation isn’t really talked about. There’s also the vr game with one line about Sam being insecure, the “it’s either Sam or the afterlife and I’m good with either one !” line from Max, and Sam in the last fight telling Max to “go into your happy place”. And while that’s definitely a bit more by making them have those issues, it’s still glossed over quickly).

Though, again, the execution was very bad. Sam’s body issues are always played out as a joke with other people calling him fat and him getting offended, while Max’s depression is called laziness in 106 (even if they didn’t intend for it to be depression, the fact that they consider the vice acting like that to be laziness is fucked up) on top of it not being directly addressed in 305, nevermind the fact that Max is shown to be literally suicidal in 305 or at the very least hates himself and is self-destructive since the Superego is part of him !!!

The worst is that there was actual potential here ! Like, in 304, Sam is shown to be uncomfortable around the clones and there’s especially that one cutscene if you find one of the clones’ underwear. Meanwhile, Max spends the whole chapter showing interest in said clones, thus proving Sam that he’s getting worried over nothing. Heck, even Mama Bosco is into the clones ! And yet they never take that opportunity to delve into Sam’s insecurities !

Same for 305. There was a lot of potential to talk about Max’s issues instead of just saying he has them but never dwelling on them. For example, have Sam comment to the Superego on how he knew Max wasn’t alright but never realized it was so severe, or have a few sentences about it from Sam to the rest of the main cast, or even have Sam ask alternate!Max if he’s okay. Or maybe even simply have the episode be more focused on Max suffering. After all, when you think about it, 305 is all about trying to prevent Max from committing suicide, and yet it’s completely glossed over by making the Superego some kind of villain that needs to be stopped !

And yes, I know the franchise is a comedy, but S3 got into some dark stuff nonetheless !

So yeah, the execution in the trilogy was very bad. Still, I love the concept itself of Sam and Max dealing with such personal problems.

- Last thing regarding both before I get more specific : while it’s definitely helped by the 30+ hours length, the trilogy is the instance in which Sam is the most explicitly bi, especially regarding his attraction to men (one line with one of the zombies in 203, Peppers in 205, Flint Paper, that one “Max is looking pretty buff” line from 305, Max in general tbh, two-three lines towards Ash and Brock in Poker Night 2), while Max is the most explicitly gay (not only with the “doesn’t even like girls” joke but also due to his regular flirting with men).

Which leads to another thing : if I had to describe the evolution of Sam and Max’s relationship, I’d say that, basically, Sam and Max love each other in the comics, “Hit the Road” and the vr game, but they are in love with each other in the cartoon and the Telltale games. So that’s another bonus this version of the characters has in my shipper eyes (bonus that the cartoon has as well).

Overall, it’s just very sweet to see not only their usual shenanigans and complicity but also to have a few small moments like the “I love you”s, the way they would always prioritize each other in the face of danger, the little touches like Max jumping on Sam’s back, him fixing Sam’s tie in 204, or the way Sam smiles whenever Max is being a dork. It’s all very good and cute stuff (and the writers of the vr game are cowards for reverting their dynamic back to their “Hit the Road” selves. Heck, even in this game, there were some cute moments like Max’s excitement to go into the tunnel of love or Sam asking the 8-ball if he and Max will stay together forever !).

- Regarding Sam himself, first of all I absolutely adore the “uncool 40 years-old dad” energy he gives off at times ! Like him dancing in 203, the “boom ! More science !” line from 301 or even the “that’s how we do things downtown homie !” from Poker Night 2. This man is just so goddamn cringe while being the biggest dork and I adore every second of it !

Secondly, my favorite thing about Sam overall (aka in the whole franchise) is how overprotective he can get, the best examples being in the cartoon with him losing his shit everytime Max is in danger. But even in the Telltale trilogy, we get plenty of those instances.

What’s more, on top of his usual overprotective self, we also have moments where he just gets worried because of the situation, like in 301 and 304 where you can ask Max in a few rooms how he’s doing with his new powers (btw I love how Max is clearly a bit annoyed by Sam’s worries but at the same time seems to understand why he feels that way and doesn’t try to invalidate them). Idk I just really love this side of Sam and I’m glad we get plenty of this here.

Also, not really related to him being protective but I kinda love how much of a petty bitch Sam is towards Hugh Bliss just because he’s jealous of the way Max drools when around the guy. I mean, usually Sam smiles when interacting to people, including when he’s being an asshole to those he dislikes (with some exceptions like him going noir or being in a desperate situation or provocated etc). But with Hugh Bliss, Sam is uncharacteristically angry and provocative the whole way through, even way before knowing the guy’s evil. And the only thing Hugh “has” that other characters don’t is Max being into him, which really makes it look like Sam is jelly (tbf Max is also really into Flint Paper but Sam likes the guy so it’s no surprise he doesn’t get mad about it).

Special mention to his anger in 205 with the “bend over provocatively” line. Like Sam, buddy, Hugh Bliss is dead. He won’t steal your man so stop feeling so threatened.)

Finally, I love how bad Telltale Sam is with kids, especially with how it contrasts with Max’s baby fever. Like, in 305, Sam straight-up thinks the point of having kids is to pay less taxes ! Also he adopts a cockroach, accidentally eats it as a roomba and goes “welp, no son of mine will die from that !” This dude is such a fucking disaster with kids and I love every second of it (yes I know he’s not that bad with kids but I like to headcanon that he is because it’s funny).

Just imagine a scenario of Sybil asking Sam to babysit her kid, afraid to ask Max for obvious reasons, but then it turns out Sam called Max less than 5 minutes in because he just has no idea what to do and Max is much better with kids than he is.

- For Max, first of all I love how much this guy adores his body in those games. Like, there are several instances of him calling himself hot and I really like it. I think what I love about this is that 1. it contrasts with Sam’s body issues, which is always interesting to see and 2. Max himself has a bit of a stomach, so it’s really sweet to see someone with a bit of a chub going around calling themselves hot and shaking their booty around. It’s just really sweet to see this kind of positivity. Because yeah, I do believe that Max is sincere when complimenting his own body. It doesn’t feel like him pretending to like himself or trying to compensate for his low self-esteem, at least in my opinion.

Secondly, I like how flirty Max is in those games. It’s pretty funny actually to see how different Max’s sexuality is shown throughout the franchise. In the comics and the vr game, they just never talk about romance. In “Hit the Road”, he’s not really interested in it. In the cartoon, he’s straight-up afraid of “mushy” romance (and if you imagine each iteration of those characters to be their own dimension/timeline, I’d argue that Cartoon Max is more likely to be aromantic homosexual, since despite his fear/hatred of romance there are a few sex jokes hinting that he sleeps with Sam + he’s low-key into Mack Salmond and it could be sexual attraction).

But in the Telltale games ? Dude’s a raging homosexual and I love it. I especially like how much this sorta pairs-up with him having a good opinion of his body, like him loving himself is giving him the confidence to be more obvious about his attraction for men and act more flirty with them.

Lastly, my favorite thing about Max is his baby fever and how much he adores kids and wants to start a family with Sam, and those games have a lot of moments showcasing this side of him. I think what I love most about it is that 1. it’s cute as hell and 2. it completely contrasts with Max’s usual destructive self. Although, just like for Sam’s overprotectiveness, this is something we also get to see in the cartoon (and speaking of which I feel like we don’t talk enough about the giant robot episode and how quickly Max melts at the view of the giant baby. Also can we talk about Max calling himself “daddy” when hurting the kid and then calling himself “mommy” when acting like a parent ? No because if there’s any proof that Max has daddy issues, it’s this !)

So yeah, all this to say that the Telltale games are my favorite version of Sam and Max as characters.

And for those who expected me to talk about the voice-acting, honestly I don’t particularly have a favorite voice-actor for those characters. Each entry in the franchise has a few differences in how this duo is portrayed, and I feel like each voice-actor fits perfectly with each version they’re dubbing. So while I could say I’m more familiar with the Telltale/vr and the cartoon versions of the voices, it doesn’t mean that I find them better than the “Hit the Road” ones.

That being said, if I had to praise the Telltale voice actors, I would give huge kudos to Sam’s voice actor for the emotions he’s capable to bring into the character, especially in S3. As for Max, I really admire the fact that he had three voice actor and each new one managed to sound like the previous one, thus keeping Max’s voice consistent throughout the trilogy.

On that note, being someone who adores angst, I didn’t mention the whole “S3 is the angst seasons and there can be many repercussions from 305” because it has less to do with the characters and more to do with the story itself. Like don’t get me wrong, S3 absolutely tests the limits of Sam and Max, but “Sam and Max love each other more than anything else and would give anything for each other” is something we already knew.

So in my eyes, “S3 has a more angsty story and some character development” has less to do with “why I love this version of the characters” and more to do with “why I love the story of the Telltale trilogy and the fact that there’s continuity”.

Also, regarding the repercussions of 305 and how it can play onto the characters, it’s again not something the trilogy itself dwells in. Instead, it’s something the fandom itself likes to play with and interpret (and I absolutely adore that).

Oh yeah, and one last thing : obviously there are a lot more things about Sam and Max’s characters that I love. What I pointed out in this post are things that are exclusive or almost-exclusive to the Telltale games. Just pointing it out in case I didn't made it explicit enough at the beginning. 😅