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adhd-ahamilton · 3 years

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I got to see Hamilton in Sydney!!

It was a seriously, seriously amazing time – I was always worried that by the time I finally got to see Hamilton on stage (I was even supposed to see it in America last year lmfao) it wouldn’t mean the same anymore. And like, obviously it’s not my hyperfixation anymore. But even like this, it was still an incredible experience! I always figured that the recording would focus more on close-ups and the like because you can’t really see that on stage, but you really can see so much of what’s going on when you see it live and the whole stage is full of things to notice!

I have a lot of thoughts about it (mainly about the Australian cast, though some of these things could just be live performance things)!

Firstly, only two lines had their wordings changed:

* ‘John Adams doesn’t have a real job, anyway’ → ‘Vice president is not a real job, anyway.’ This got a good laugh from the audience; obviously it was changed to preserve the joke, since most Aussies wouldn’t have a good idea of who John Adams was. (I explained the joke when I watched the recording with my parents.)

* ‘Weehawken. Dawn.’ → ‘Jersey. Dawn.’ This was a bit of a surprise, but the more I think about it the more it makes sense. Aussies also wouldn’t know Weehawken (I didn’t even get that he was referring to a place when I first heard it), while Jersey is very clear because they already made a joke about it. (That one didn’t get much of a laugh though, ofc lol) And it’s actually more consistent because later they do say ‘we were near the same spot my son died, is that why’ so they drive that connection even deeper.

I don’t think there were any other music/staging/choreography differences from the recording – just the acting. But ooh, this really was differently-acted!

Hamilton

I love Lin-Manuel Miranda. I love his energy and enthusiasm and intelligence and his optimism. But while I loved his dorky version of Hamiton, I have to admit, I didn’t always think it matched up with even the musical’s script, let alone the real person. This Hamilton, though? I kept thinking about all the ways he felt different from the original, and almost every time, it was like ‘yeah, this feels more like what I know of the real Hamilton.’ (Or at least, the Hamilton we wrote about in fic.)

This Hamilton is aggressive and prickly. Up until Helpless, we don’t really see him smile – which makes sense, y’know, with ‘talk less, smile more.’ When he confronts Burr at the beginning of the play, he doesn’t have Miranda’s overly energetic and talkative air, he’s more pushy and too intense. You really feel like, oh, yeah, he’s just walking up to someone on the street and badgering them into telling him about their life story. When he says ‘God, I wish there was a war’ he’s less naive and more so hyperfocused on his goal he doesn’t notice he’s said something super insensitive. When Burr says ‘You wanna get ahead?’ his ‘Yes’ isn’t quiet and firm, it’s more ‘yes obviously, nobody would not want to get ahead, so just hurry up and tell me already.’

And that’s just in the first couple of songs! He continues on like this, with that kind of burning intensity and hot temper, through the musical, though ofc it softens at important times. Importantly, his relationship with Burr is largely based in frustration. When he does ‘My Shot’, it honestly feels less like he’s singing to impress the guys and more like he’s challenging Burr and everything he just told him; I’m sure I saw him glancing back at Burr several times. Likewise, when he tells Burr to go get Theodosia, it’s not questioning – he’s outright saying that if he really loved her, he’d take any risk for her. And in Schuyler Defeated, his ‘Burr?’ isn’t questioning there, either – he’s already angry, he’s just demanding his attention. He genuinely seems to like Burr in a weird way that even he might not understand at times, but for the most part he just seems to find him really frustrating and is always trying to incite him to do more.

This Hamilton also feels very independent, and even aloof. In The Story of Tonight, while the other guys are totally sincere and moved by it all, Hamilton feels sorta… distant. At one point he half walks off until Laurens brings him back, which I think happens in the recording as well, but here I especially felt like that was how he was ‘really’ feeling. Not that he was being manipulative or lying in any way, just that he couldn’t be in the moment because he was still stuck in his head thinking about the future. And the whole way through, he very rarely seems to properly open up – my friend said afterwards that Hurricane hits so much harder when it’s the first time he’s really vulnerable in the entire musical. Which is basically how it happens.

It’s funny – you think of Hamilton and Burr as being contrasting this way, with Burr keeping his cards close to his chest and not revealing what he really wants until The Room Where It Happens, but this Hamilton doesn’t feel far off. But rather than keeping a secret per se, it’s more… he has such an incredibly strong, intense drive, and you’re never super certain where it comes from. And in Hurricane, it suddenly becomes clear – all this time, he’s still caught up in that trauma, and still feels like he needs to fight and scrape just to survive, even when it turns into this self-destructive impulse. Honestly, Hurricane has always been kind of a weird song – he’s been corrupted and is not the most sympathetic beforehand, but then you get this grand slow inspiring song talking about how he suffered in the past and overcame it, but THEN you cut to an almost comedic number about how he fucked everything up for himself and his family. In Miranda’s version, that mood up-and-down always felt a little too jarring. Here it made perfect sense – it was so shocking to see how vulnerable he was at the beginning, and then the song isn’t just repeating what we learned in the beginning, it’s explaining what he’s been keeping deep down all along, but also making it clear that this is manic and awful and destructive.

Part of that is the singing, too. This Hamilton can rap really well, but his singing voice is startlingly gentle and beautiful. It really helps to get across the sincerity of his feelings in Helpless, Dear Theodosia, and as I said Hurricane. On the other hand, there are also times his voice just goes flat, like there are so many emotions he can’t process them – you see that a bit in My Shot when he gets worried (‘I never had a group of friends before’), but it REALLY stings when he says ‘I have so much work to do.’ That hit me way harder than Miranda’s version :(

However, when you combine this Hamilton’s aloofness with that certainty and intelligence, you also get a version of him that is particularly… ironic? He’s always crossing his arms (when he’s not rubbing his face with a palm; those two gestures repeat constantly through the play), and kinda stepping back and Watching people, with a bit of a sense of self-important and even patronising judgement. This is very much ‘So quick-witted!’ ‘Alas, I admit it.’ He definitely does come across like a dude who thinks he is ‘smartest in the room,’ and puts way too much stock in his own opinion. Particularly with Burr whenever they were getting along there was a distinct sense of ‘You know what? I actually think you’re pretty interesting. And my positive judgement is hard to come by, so that’s a big compliment.’ (Burr does not seem to get this weirdly condescending vibe though, lol.) Honestly…. I gotta admit: I really don’t like people like that, haha – though I can’t say it’s entirely inappropriate for Hamilton characterisation. This Hamilton genuinely feels difficult, and that matches up to what happens in the script.

But, the consequence is that after Hurricane, some of the later songs didn’t have quite as much of an impact on me as in the original. In It’s Quite Uptown, I could somehow never quite lose that vision of Hamilton as a bit sarcastic and superior – the way he rubs at his face in grief still just felt a little… put-on and theatrical, like you can hear the frustrated sigh underneath. And this is a song that demands complete, total, unrelenting vulnerability – Miranda’s Hamilton sounds like he’s dying the whole time and that makes the emotional stakes really felt. Maybe it’s that his voice was TOO gentle in this song – Miranda’s more awkward voice actually adds to the exhausted brokenness of the situation?

And finally, when we got to The World Was Wide Enough… Miranda’s speech there in the silence might just be my favourite sequence in the entire musical, so I think anyone else would have struggled to match up to that. It doesn’t help that I was distracted trying to figure out Burr in this scene (which I’ll get to later). It was still beautiful, of course, but ‘What is a legacy?’ just feels so so very Lin-Manuel Miranda and anyone else singing that just doesn’t feel the same.

Overall, I really really enjoyed this version of Alexander Hamilton – as I said, he felt much closer to the actual characterisation I always imagined for him. And this one showed some really fascinating vulnerability in unexpected places, even if the ending didn’t quite land as well for me.

Burr

This Burr was really, really fascinating as well – an interpretation that feels different all the way through, but really pays off at the end with something very striking.

So, something the group of us all agreed was that this Burr felt a lot more like the ‘trust fund baby’ he calls himself. There’s something elegant and refined about him, a rich person who is used to moving through the world as a person to be admired. He’s actually quite graceful, somehow, even though he barely dances? But that also really brings to the fore one particular element – entitlement. (Seriously, my mum is physically incapable of bringing up Burr without mentioning the word ‘entitled’, lol.)

This is a Burr who is used to not having to work for things. He just sort of expects things to fall into his lap, eventually, in contrast to Hamilton. The world will eventually shape to match his desires – that’s how things work. Even in the latter part of the musical, it doesn’t so much feel like he needs to fight and scrape like Hamilton to get ahead, but more like… getting ahead is his birthright, and he just needs to effect that inevitable change into the world. But I’ll get to all that later.

The other thing my friend said was that this Burr feels very much like a preacher’s son, and the more I thought about that the more I agree. There’s something almost… toxically positive about him – the smiles don’t feel two-faced and manipulative so much as maybe like, wilfully ignorant? There’s a very ‘Don’t fret, God will work things out in the end :)’ feel about him, actually. But there’s also something deeply naive in him. Leslie Odom Junior’s version also had some of that genuine lack of understanding – when he muses in confusion over Hamilton in Wait For It, or when his face scrunches in confusion when he says ‘I don’t see why that has to end’ in Schuyler Defeated, and this one does all that, but it feels like an even more inescapable part of his character.

Like, there’s something about this Burr that is just a bit… lame. A bit ‘Hello Fellow Kids.’ But, intentionally!! As I said, he’s a preacher’s son. When he tries to act kinda cool or badass, it just doesn’t quite work. When he interacts with the other guys, even as he smiles wanly and shakes it off when they insult him, you feel like he does still want to be – or even think he is? - part of that group of cool young men. He’s just too… nice, almost. I felt a little more bad during The Story Of Tonight (Reprise) and all. And he seems to take it really earnestly that Hamilton likes him, even if, like I said, there’s a sorta superior quality coming from Hamilton.

He just comes across more naive. Rather than a manipulator, this Burr comes across as more of a shameless Yes Man, who doesn’t think there’s anything wrong with what he’s doing. But I also sort of felt like other characters easily saw through him, and Burr didn’t quite realise that. Like with Jefferson, it sorta felt like he thought he was being really strategic but Jefferson was just like ‘sure, this guy works as an ally, even if he’s kinda annoying.’

And when it comes to Wait For It… the song makes it clear that bad things have happened to him – he hasn’t gone through life without suffering – but he hasn’t had the same reaction Hamilton has had. While Hamilton learned nothing will come to him unless he takes it, it feels like Burr learned that things will just… happen to him, good or bad, and he can’t control it. Nothing that has ever really affected Burr has been of his choice – he inherited his position, and then his parents died, and all of that was just the uncontrollable whim of the universe. Leslie Odom Junior’s version emphasised the ‘I am the one thing I can control’ aspect a bit more – you feel that that version really had worked hard and struggled for the sake of his studies and job, but this Wait For It gave me a very uncomfortable feeling of being trapped. It’s as though everything about him is already decided, and even his efforts aren’t personal decisions so much as just what was natural and expected of him to do.

And that makes the second half of the story feel very different for him. In Leslie Odom Junior’s version, we see him take that self-control to new levels – that realisation that there is something that means as much to him as all of that drive and intensity Hamilton puts out, and it’s his own ambition. That he does want that, and he will have to fight and get his hand dirty to make it happen. As the story goes on, he becomes increasingly desperate and fearful, understanding more and more what it was to be that kid in the hurricane, becoming viscerally aware that terrible things can and will happen to him unless he stops them.

This Burr doesn’t feel like that. His downfall isn’t frantic. It’s very very cold.

In The Room Where It Happens, yes, his ambition crystallises and he changes strategy. But it feels less like an electric jolt, or an earthquake, and more of an epiphany. It’s okay for him to do these things. It’s right. He belongs in the room where it happens. Whatever he does to bring him there is by definition right and good.

He honestly seems to be feeling good through much of it. He’s so smiley when he comes up to Jefferson. He seems even more confused than Leslie’s Burr when Hamilton is actually mad at him for unseating Schuyler. And in The Election of 1800, there’s nothing of the original’s tired, manic energy, like he’s pushing himself to the brink and plastering on a smile to get through it. When this Burr campaigns, he’s energized and charismatic and friendly and filled with almost a kind of serenity. Like this is what he was born to do. His future is almost here – he just needs to reach out a little and it will be in his grasp.

Which, brief aside here while I analyse this haha – so, in Australia, a big part of our culture is what is called Tall Poppy Syndrome. i.e., an instinctive bitterness and hostility towards those who are perceived to stand above others. It’s often described as an aggression towards successful people, but I think that’s only part of it. Australians would describe their culture as breezy and casual and relaxed, but there’s also something disaffected about it, IMO. You’re not meant to ever take anything too seriously. Yes, we all take the piss out of politicians, but it’s sorta ‘lame’ to really seriously oppose them, too. It’s like our culture is stuck in the mindset of a self-conscious fifteen year old, where we’re all sorta lazily cynical and ‘bluntly honest’, but you’re not supposed to ever actually do anything about it all. Caring too much is kinda embarrassing. You’re just supposed to make fun of people and keep living your life. We don’t get the same fundamentalist groups intent on forcing their viewpoint on society like America does, but we also don’t get the same idealists who fervently believe that if we work hard we can make things better. They exist, for sure. But… well, it’s hard for me to imagine an Australian Leslie Knope, you know? (Who, btw, is one of my favourite fictional characters of all time, for reference.)

Watching Burr in The Election of 1800, I was struck by a memory. It was an Australian season of The Amazing Race, and on top of all of the typical relaxed Australian reality show contenders (seriously, I don’t know what the fuck Drag Race Down Under is on, that is the most un-Australian reality show I have ever SEEN), there was one couple that were I suppose Go-Getters. The type who eat healthily (probably vegan) and get up every morning in their athleisure to work out at the gym or go for runs. They were peppy and enthusiastic and they announced with huge smiles that they were going to WIN this! And the other contestants absolutely despised them. At one point, they did something to attract specific ire – honestly, it was probably nothing more than just not helping another duo who were going the wrong way, because in Australian reality shows everyone helps. But after that, multiple groups all ganged up to sabotage them. They took such delight in watching these two cheery people’s optimism flag, so very self-assured in having taught them to ‘not take yourself too seriously.’ Burr, as he was campaigning, reminded me of them.

It’s really telling, I think, that Burr is the one who reminded me a little of Leslie Knope, here – albeit obviously a much darker version. The kind of person who dorkily believes in the system and puts himself out there unselfconsciously, whose wide smiles are unironic and unmocking. In the original, Lin Manuel Miranda actually compared Hamilton to Leslie Knope at one point, with Hamilton’s ‘thirty years of disagreements.’ It’s a very Australian thing, to make Hamilton less earnest and more aloof and sarcastic, to make his anger as much about frustration with other people as about believing in something himself, and to make Burr, by comparison, sincere. Australians don’t really trust sincerity. Honesty is to be framed as an insulting joke, and Burr is just too polite to do that.

When the results come, Burr’s serene smile only very very slowly fades. Before his expression really drops, he turns away. When Your Obedient Servant starts, he’s quiet. The whole time he sings, he’s measured and controlled and entirely certain of himself. He doesn’t have LOJ’s grit or spikes in volume on ‘just to keep me from winning.’ He’s unnervingly quiet.

Even into The World Was Wide Enough this continues. In the original, Burr is outright frantic. He’s desperate and shaking with anger and fear, and when he points at Hamilton’s glasses and the like, you can feel that he actually isn’t sure of himself – that he’s trying to justify this to himself and knows he sounds crazy, but he just can’t pull back now. His voice shakes and goes up and down. When he says ‘we were near the same spot his son died, is that way?’ it rises and when he says ‘this man will not make an orphan of my daughter’ he cracks in real tears, like the mention of Philip reminded him of what’s at stake here, like that really is the reason he’ll kill him. This Burr stays quiet and cold. He doesn’t waver.

If that Burr was desperate, this one feels… and I hope this doesn’t sound like a joke: like a thwarted rich nice guy. The other Burr learned from Hamilton too well, and is replicating his self-destructive energy. This Burr hasn’t learned anything at all. Winning is still his birthright, and Hamilton has stolen that from him. Burr deserves it, and he deserves to punish Hamilton for this. It’s not an explosion of shock, a scrabbling for purchase in this new chaotic world that will doom them both. It’s vindictive. Burr knows what he is doing and he wants to hurt Hamilton for all Hamilton has hurt him.

After the shot, I was surprised to find myself not tearing up as I expected (usually, these two last songs always get me). With the original Burr, his singing is laced with pain as much as regret. When he repeats ‘death doesn’t discriminate’, we feel his sorrow as he fits Hamilton into the same kind of category as his parents and wife, as someone important to him who died. When he says ‘he may have been the first one who died, but I’m the one who paid for it,’ we understand that he’s referring to the depth of his grief. That having to live with knowing he killed Hamilton feels, in this moment, worse than death.

This Burr is still cold. And when he finally gets to it, and says ‘I’m the one who paid for it,’ he looks away. He almost spits. His face is contorted in bitterness. It’s rough and gritty, for the first time in the entire musical.

I can remember it vividly – it was shocking to see, and sends shivers through me to remember. I’d been waiting for that cathartic sadness, but it wasn’t here. This Burr, deep down, didn’t feel for Hamilton, at least in the end. He was pissed off because for once in his life his actions had consequences. Because of Hamilton, he had fucked up his life forever. His worldview had been shattered. And at that moment, that was all he could think about – that resignation and bitterness and anger. All along, maybe, he had been nice only because he’d had no reason not to be. Once it didn’t benefit him, and his pride and entitlement were damaged, he showed who he truly was.

It… was an experience, lol. Honestly I think it was partly lost on me because I so loved the original version and was like working myself up ready for a good cry here, so I didn’t get to just sit and take the full impact – I kept searching for a grief or fear that wasn’t there. But I don’t think this version is bad! It’s a very valid interpretation of Burr, and it was extremely fascinating to see unfold.

If I have one critique, it’s that one kind of problem with the whole Australian show is that the performances lacked grit. I really wanted more edge, more aggression, more intensity of those emotions – something more sharp and shocking. Hamilton delivers this kind of thing at times, especially early on, but ofc it fades away in the end. Jefferson, as I’ll get to, is too smooth-talking while also having that cold serene kind of anger. When we lack both Hamilton’s broken It’s Quiet Uptown and Burr’s frantic ‘this man will not make an orphan of my daughter’, we don’t get those life and death stakes quite as highly. By focusing all of Burr’s anger in one line, I think the rest of the songs didn’t have as much of an impact as I’d like.

But!! I really enjoyed this interpretation, and I’d love to see it again knowing what’s coming!

Eliza

OKAY nobody else is going to get those huge walls of text lmaoooo

Anyway this Eliza wasn’t a super different interpretation than Phillipa Soo’s, but I think she pulled it off at least as well, if not even better?

So, the really big obvious thing about this Eliza is her smile. Her actress has this amazing, big toothy grin that feels so lacking in guile, but also still so comforting. It’s so attention-grabbing and almost impossible not to be affected by. It just screams ‘hey, things will turn out okay, so cheer up! :)’ And it’s something that just comes out on Eliza as if on instinct – she’s wearing it through most of That Would Be Enough, and at the end of Take A Break when she escorts Angelica away, and even in Blow You All Away when she’s comforting Phillip or in flickers when describing Hamilton’s old letters in Burn.

The thing about Eliza as a character is that she’s basically defined by her emotional intelligence. She feels as strongly as Hamilton, but where he is uncontrolled and reckless and both self and other destructive, she is the opposite of all of those things. She’s measured and practical and knows exactly who she is and what she wants at all times. She will sacrifice for others, but it’s because she decides to, and if she is hurt, she will not keep herself in harm’s way. It’s an interesting kind of competence and I can understand in theory why it’s cool to have a female character like that even if I, as a neurodivergent mentally ill woman cannot relate in the slightest and feel sorta awkward to be judged against.

This Eliza nails all of that perfectly. She’s effortlessly charming and soothing whenever she wants to be – in That Would Be Enough, when Hamilton is turned away and putting up all of his sharpest bristles, you can feel her become something soft and liquid and find her way up against him regardless without getting hurt. It’s that strength of character that makes their relationship really work – it’s not necessarily that she completely understands him or is good at ‘handling’ him, but that her certainty of purpose and deliberate, skilful compassion make her perfectly suited to calm Hamilton’s deep down insecurities. She loves him entirely and makes him believe that. And when Hamilton responds with his own intensity, she loves that, and believes in that.

And all of that makes it mean so much more when she steps out of that natural mediator role for a moment. In Helpless she’s adorable, so giddy and excited and so clearly crushing on Hamilton with a youthful energy that somehow doesn’t feel all that naive. As she sings she’s constantly glancing back over at him, it’s really cute haha. But she does feel a bit more vulnerable here – it does feel like she’s silently asking for help from Angelica when they talk. More startlingly, there’s Non-Stop – when she calls out ‘Alexander’, it is SHARP. It’s the same kind of tone Hamilton takes when he calls out to Burr in Schuyler Defeated. It’s a bit startling actually, but in a good way.

That tone, I think, foreshadows Burn. Again, I think this Eliza takes the same tone as Philippa Soo, but this version (maybe just because I saw it live!) embodied it even more – she talks about her own desperation to understand, re-reading their old letters, and cites Angelica as back-up, but when she reaches the mid-point, she stops and seems to think. She weighs up the situation and her emotions. And when she says ‘I’m erasing myself from the narrative,’ it is very deliberate and conscious. She is in control of her fate and she can see herself objectively and this is what is just. Her moral core is impenetrable. She sees long arc of the future that Hamilton and Burr are so obsessed with and she says, yes, this is what should be done.

And then in It’s Quiet Uptown, that same self-certainty is there from the very first word. This whole musical, even at her lowest, Eliza has instinctively brought out that comforting, wide smile. Here, her face is expressionless. If Hamilton’s acting here didn’t quite hit my mark, Eliza’s was spot on. The withdrawal of that earlier warmth is all the colder when there is no doubt within her about it, and nobody can argue she’s wrong in that. When she takes Hamilton’s hand, she still doesn’t smile. It’s sad :(

Of all of the final songs, Who Lives Who Dies Who Tells Your Story hit me closest to the original. It’s actually almost jarring to see Eliza ask ‘have I done enough?’ This whole song, we hear a hasty energy to her she’s lacked all musical – the first sign that Hamilton has rubbed off on her, too. But when she asks ‘Will they tell your story?’ it’s still Eliza – this isn’t about a legacy, it’s because she’s still that giddy girl from Helpless who loves him and wants to do everything she can for the people she loves.

(Whenever she and Hamilton see each other but appear to walk past one another, only to circle around and meet in the middle again, I cry lmao;;)

Her gasp at the end is soft and quiet and delighted, as though she just spotted someone in the crowd who she hasn’t seen in years and can’t wait to catch up.

If I have one critique, it’s the lack of grit again. Her scream at Philip’s death wasn’t as wild and destroyed as Phillipa Soo’s, and while I like her gasp, I prefer the original’s shocked, overwhelming joy.

Overall though, she was extremely good! Her charisma was just blinding, but it was in that perfectly ‘mundane’ way you’d expect from Eliza. But that solid, immovable core always shone through. They really sold her relationship with Hamilton, too!

Angelica

This is the one I feel like I have the least to say about. My mum said she was the only character who just couldn’t quite match up to the original, and I don’t really agree, but I don’t have a huge amount to say, either.

This Angelica felt a bit older and more mature than Goldsberry. The original Angelica has a bit of brashness and vivid emotion to her – a bit more out there and exaggerated in her actions and expressions. More bold but also more chaotic. This one was a bit more quiet and considering. Diplomatic, maybe?

I actually worried when I first saw her that she wouldn’t be able to carry Satisfied because she was too confident and capable I wouldn’t be able to believe her vulnerability, but no, she pulled that off perfectly. When she was standing in the dark there in the end, the sadness radiated from her.

I actually got a lot more chemistry between her and Hamilton this time; I always thought I disliked the relationship in that canon because of my grudge against how LMM wrote it, but maybe it’s just that LMM was too old for her lmao. You’d think her quietness would contrast with Hamilton’s pushiness, but if anything it feels like she can just eyebrow-arch off his usual way of getting under people’s skin – when she says ‘you forget yourself’ it’s subtly disapproving, then when he delivers the punchline, it’s like he proves himself enough to earn her respect. Indeed, their mutual aloofness actually suits them both really well. You can just imagine them working together, quietly sharing their judgements on everyone else in the room around them. They’d be a terrifying power couple, and that really connects up to her advice in Take a Break.

I don’t have as much to say about the rest of the musical though. (actually IDK if that’s all partly just because by the end my ADHD brain had to work a lot harder to keep up, lol.) Her piece in The Reynalds Pamphlet did the job, and her singing in It’s Quiet Uptown was beautiful.

I guess, if I had to contrast them, the original Angelica felt more spirited and aggressive – very ‘you want a revolution? I want a revelation!’ - while this one felt more like the settled head of the family who already had her place but understood the world perfectly and knew she’d have to pick and choose what she wanted most. (...spoken like that she sounds like a big contrast to Burr, funnily enough?)

Lafayette/Jefferson

So not too much to say about Lafayette – the guy pretty much did him the same as Daveed Diggs, and pulling that off is very impressive but there isn’t too much to analyse here. If anything the Lafayette felt slightly less bright and cheery than the original, which may have been done to contrast with Jefferson.

Jefferson, on the other hand, was quite different. Diggs’ version is very loud and kinda abrasive and arrogant – always smiling and bouncing but with something clearly malicious lying behind all of that. He’s got a harshness to him, deliberately intimidating and surprisingly authentic in what he reveals of himself. He’s a villain character who’s fun to watch because he’s having fun himself and you gotta admire his balls.

This Jefferson is much more smooth and manipulative – maybe taking over from what Burr sometimes delves into? When he first appears, he plays to the crowd, encouraging the cheers, but it’s less arrogance and more like, he’s a celebrity putting on a show. He’s friendly and cheerful all through What’d I Miss?, disarmingly enjoyable to watch. He’s someone who knows the crowd and likes the crowd and is very very good and getting what he wants from the crowd without making it obvious he’s doing that. He’s definitely the type of #relatable celebrity fans would really want to defend.

But Hamilton represents a very clear change to his status quo. He starts off singing What’d I Miss? just in a fun, conversation-starting way as a rhetorical question, but after Hamilton introduces himself, he seems genuinely taken-aback. His last ‘What’d I miss?’ sounds like a genuine question, like, ‘wait wtf what’s going on here all of a sudden?’

And then we get the Cabinet Battles. Despite the above, Jefferson starts off his argument oozing with relaxed confidence. He doesn’t need to take any of this seriously – it’s already in the bag! Everyone loves him and as long as he makes some nice jokes and smiles disarmingly enough, he’ll always get what he want. And then Hamilton starts talking. And he’s pushy and hostile and sarcastic and mocking and angry and superior. And the whole time, Jefferson stands straight and Stares at him. We get none of Diggs’ ‘Haha, this guy is a riot! :D’ type of energy – this Jefferson is deeply displeased, and he is watching very, very carefully to take stock of the situation so he can put an end to it.

It’s actually really well done IMO – when the crowd oohed and ahhed, it felt like a 50/50 of ‘what the hell, people aren’t supposed to DISAGREE with Jefferson!’ and also ‘holy shit this guy is acting like an actual obnoxious child who needs to stfu right now.’ Both Jefferson’s easy entitlement and Hamilton’s unhelpful abrasiveness really got across.

In the second battle, Jefferson is much more careful. Whether it’s because he isn’t underestimating Hamilton anymore or because he cares much more about this, there’s an unamused urgency underlying everything he says. He still tries to be friendly and charming and diplomatic, but his smile drops often. This issue is important and he is not going to back down on it. It’s actually still not quite as immaturely insulting as Hamilton – more like, ‘can we stop humoring this asshole kid already and do something we very much need to be doing?’

(Also fun fact: in The Room Where It Happens, when we get to Jefferson’s version of events, Hamilton’s ‘I had nowhere else to turn’ is SO fake and sarcastic it was really funny, like even the Hamilton in Jefferson’s head can’t bring himself to actually say that sincerely.)

So, when we get to Washington On Your Side, he’s cold. At the time, he contrasts well with Burr, who is all smiles and surprisingly relaxed. This Jefferson is more like Angelica, quietly analysing the situation and slowly coming to a plan. The difference between cold, planning Jefferson and smooth-talking Jefferson is also great.

Because of all this, he has less of the really comedic stuff the original Jefferson got, with the exaggerated expressions and movements – in We Know, he’s more struck dumb by everything than the more over the top reactions Diggs did. But the controlled coldness contrasts with Hamilton better – it makes sense that he was the one who successfully connived himself to the top. And we get much more of that contrast between public and private Jefferson that is one of the interesting real-world meta statements, where who is was to the people and who he actually was were very different.

…….I think I had some kind of impression of ‘because I’m the president’ but I can’t remember what it was anymore. Hrm.

Anyway: enjoyed!!

Mulligan/Madison

So, how I’ve been saying the show lacked grit? I honestly think it might’ve all just collected in Hercules Mulligan lmao – obviously his parts are meant to be bold and brash and powerful, but these ones hit even harder than usual. His part in The World Turned Upside Down was just so Loud I could feel it in my chest! Great performance, I loved it!

Madison was very very different naturally, but also very different from the original version? While the original Madison felt tired and a bit disgruntled, like he was exhausted by Jefferson’s in-your-faceness and just wanted to get this done so he could get back to his work, his one felt much happier to be there. This Madison felt like he actually saw himself as Jefferson’s teammate, like he considered himself part of the show and was happy (even smug) to be helping out. When Jefferson passes him the microphone, rather than say ‘France’ with an irritated expression as if to say ‘everyone already knows this, just get on with it already’, it feels more like this Madison already rehearsed this with Jefferson deliberately. He calls out ‘France,’ as though it is some incredible zinger, like he’s been given the mic drop here. It’s pretty cute haha!

Overall this Madison felt a lot younger. Talking afterwards my mum mentioned that Mulligan’s role is hard because he has to switch to playing ‘an old man’, and was pretty surprised when I said Madison was actually the same age as Hamilton. This version felt a lot more age-appropriate. He still gets sick and starts coughing (and it feels a lot meaner when Hamilton makes fun of him! The dude was just so happy to be here – let him have his zingers!!), but aside from that he thrums with nervous energy behind Jefferson, like he’s ready to help out anytime he’s needed.

In all, he kinda feels like he fulfils that certain comedic henchman trope a bit? It really comes together with the ‘Can we get back to politics?’ ‘:’( please!!’ exchange. Madison isn’t made fun of, per se – it’s not like he really does enough in the script to get that kind of attention. But he’s just a bit funnier and more sympathetic, while also strangely feeling more like he and Jefferson are an actual team. (I mean, Jefferson hands him the mic as though he’s setting up a zinger, too. They’re both a bit ridiculous!)

Laurens/Phillip

Okay, this was one I was really curious about, for obvious reasons – LMM always sorta made it out that since he never included any of the Hamilton/Laurens stuff in the script, he kinda tried to act it in there more. In Story of Tonight or Ten Duel Commandments, or even briefly in the opening song, there’s meant to be a closeness that hints, however subtle, at that relationship.

Unfortunately, I didn’t get that at all here.

Laurens’ casting surprised me at first – he’s super short and extremely baby-faced, to the point that I wondered if he wasn’t played by a cis man. (His actor is a man, though, though ofc I wouldn’t know if he’s cis or not.) I was kinda confused about that all through the first act… until I got to the second act and, uh, remembered. But despite this – perhaps because of it? - he is an absolute firecracker. He’s hot-headed and rough and determined and every bit the young impassioned soldier.

He’s a bit more naive in the early songs – he seems genuinely friendly with Hamilton in The Story of Tonight, and you feel like he really does just like him from the moment he hears Non-Stop – but like I said, Hamilton is still pretty closed-off through all of that, so… it doesn’t really feel mutual. Hamilton likes him fine, but it doesn’t feel like he cares as much as Laurens does.

In Satisfied, he indeed seems super drunk, but it’s more like he’s just too young and drinking too much at a party than anything. The only time I really felt any particular chemistry between him and Hamilton actually comes from Story of Tonight Reprise – when Hamilton wanders off to speak with Burr, in sincere friendship, and Laurens comes over and starts ribbing Burr about his girl with almost malicious energy, it did sort of feel a little like he was jealous, if only that Hamilton and he had been talking so easily.

Finally, we get to Stay Alive. There, Hamilton and Laurens are just so angry and disgusted with Lee that they don’t really have room for anything else. It’s all very focused and determined and Manly, without any time for something softer or close between them. And I’m not sure how to feel about that. Laurens’ revulsion for Lee is historical record, and it says a lot about him and his values that that was so important to him. But there are other important parts of Laurens – that worry and fear and insecurity inside him, that ended up being so damaging to him. In such a limited script for him, ‘Alexander, you’re the closest friend I’ve got’ is really his one chance to show some of those emotions before he dies. Instead, Laurens never really gets to show that vulnerability, and I worry that it makes him feel too much like a ‘generic soldier character.’

I wonder if it’s because this Laurens looked so youthful that they sort of overcompensated, and felt the need to make him extra manly to make it clear he belonged there despite his appearance. But it sort of felt a bit too… macho for me. Nowhere to be found is that 18th century romantic friendship. Instead, it’s been replaced by a more WWI era Comrade and Comrade type deal. They’d die for each other, but would they write romantic letters to one another? And I think this is also unfortunately pretty Australian – real emotion is lame!! The only acceptable emotion is fucking hating your boss, and challenging him to a duel with your squadmate to get him what he deserves.

Well, I’m reading too much into it all, lol. But I always felt like the original Laurens barely got to show much of himself as it was, and this one felt even less so, unfortunately.

His final scene – is it We May Not Live To See Your Glory? - is done well, though. Again, Laurens just sorta feels like a generic young soldier, but ‘idealistic soldier who died too young’ is moving enough on its own. And in one of those rare moments, Hamilton really does feel shaken and vulnerable. ‘I have so much work to do,’ as I said, hurts – so lifeless and unlike him. Like nothing could process those emotions in him now, or express them.

Philip, on the other hand, is the exact opposite. First of all, yeah – having a shorter, younger-looking actor makes that Take a Break scene WAY less awkward, haha. It wasn’t even funny, it was just like ‘oh huh this just kinda looks all right?’ And the actor did really well playing a kid! He looked like a completely different person there, which is really good.

And then we get to Blow You All Away, and hoo boyy. If Laurens had been excessively confident, Phillip oozes uncertainty with everything he does. When he flirts with the girls ‘when I come back we’ll all strip down to our socks’ he manages to pull off the cocky act but in basically every other line you can see and hear the ‘a-am I doing this right? I’m not screwing this up, am I?’ radiating off of him. He definitely believes he’s doing the right thing – when he says ‘you talk about my father I will not let it slide’ there’s no hesitation – it’s just that he very clearly isn’t sure if he’s up to the task of doing it.

It was sorta interesting, actually – I think the original Phillip was more naively overconfident and reckless, and only had an attack of the nerves after he got himself into the duel. But – and this might just be me projecting here, lol – when this Philip confronts Eacker in the theatre, I got a real sense of like… ‘??? can I do this here? Where are you meant to threaten duels???’ and when Eacker is like ‘piss off, I’m watching this show now’ he seemed to wilt a lot, and straight up froze for a second or two, like he really didn’t know what to do at that point. And then of course when he talks to Hamilton he’s really worried…

And then his death. Somehow, I never used to cry much when this happened – it’s obviously very sad, but it didn’t manage to hit the right heartstrings to make crying, even in the recording. But oh god, this one was just awful… Even as he’s dying, Philip is still just so desperate for approval, like he’s so scared his parents will be mad at him for screwing it up, and Eliza is trying so hard to reassure him before he dies… I cried a lot :(

So overall, I really liked this Phillip, even if I don’t necessarily think it’s an improvement to the original. Laurens I kinda preferred the original, though this was still an interesting interpretation that gave me a lot to think about!

Washington

The guy did well! He has what Washington needs, and that’s a stature. When he’s on stage, your eyes are just naturally drawn to him. Even when he’s not doing much, he’s still a little intimidating. He has presence!

And in fact, this actor had an interesting quirk where the whites of his eyes could be seen easily? In Right-Hand Man, as he’s striding around at the center of the stage, his eyes just looked white, and it drilled in that slightly manic, crazed intensity underlying his strict, rigid rapping and self-control. It have the whole thing a really great effect.

But this Washington also had a sort of almost… slight fem-ness to him, that I didn’t get as much from the initial? It’s funny how during One Last Time, I suddenly got this vivid though, ‘oh, it’s like he’s a cool supportive teacher.’ Which… obviously?? Haha. Like he’s clearly a mentor to Hamilton all the way through! But it’s that specifically teacher description I really felt all of a sudden, that he was warm and approachable and gentle at heart, despite everything I said above lol.

Like, I feel like this Washington was just a bit less stoic than the original? Slightly more expressive and less stern. When he says ‘I’m from Virginia, so watch your mouth,’ in the original, it sounded like he was genuinely kinda offended? It was ‘watch your mouth’ as in ‘don’t disrespect my home state.’ But in this one, Washington sorta grimaces a little theatrically and says it more incredulously, like he’s actually saying ‘you wanna maybe try thinking about who you’re talking to before you say that shit, son?’ It’s more of a warning – less that he’s upset and more that other people would be, so he should really try thinking before he speaks.

He also still does the part in Who Lives Who Dies Who Tells Your Story when Eliza says she spoke out against slavery and he kinda stumbles and stares and then looks down in shame, given the real Washington’s actions.

I liked him! I felt a little more warmly to him in the end than the original, but that might just be a product of seeing it live.

Peggy/Maria

Okay so I don’t really have anything to say about Peggy, which had basically always been the case, hah. :’) I mean, I think this version made the transformation between her initial wariness vs her later excitement more clear? But that is very likely a live show thing.

Maria, though!! Honestly? I was never really a fan of the original Maria’s performance. She just feels too much like a cliched seductress archetype, and while you can argue that that’s the role she plays in the story, especially since there’s the uncertainty over whether or not she was deliberately setting Hamilton up, it just feels too on the nose. It makes it harder to believe Hamilton didn’t know what was up the moment he saw her, which I don’t think is intentional. And it makes me feel bad for the real Maria Reynolds.

But this one was very different – much more vulnerable. When she first talks to Hamilton, she’s not doing a sexy pout and throaty singing, she’s just sorta… quiet and monotone and lost, much like Hamilton gets when he’s too emotional as well. Like she’s in shock and truly has nowhere to go is just sort of crumpling as a person. And when she propositions Hamilton, again it feels sincere – she just wants him to stay.

And after he talks to James Reynolds (just as perfectly, theatrically assholish as in the original), that continues. When he confronts her, she genuinely seems desperate and scared and upset. I felt so, so sorry for her that I was yelling in my head right then ‘you can’t just leave her now!’ at Hamilton – and then immediately remembered what that’d mean… it’s a much more gripping situation.

And then in the end, James Reynolds walks off and claps, and Maria just stops, face and body entirely stoic, and follows after him in silence… Is that an indication it was all an act from her? Or is it that she’s so scared of him that she totally closes up and can’t cry, can’t show any kind of emotion or weakness around him, and just has to try and be a silent and flawless wife? No matter how you interpret it, it’s chilling.

Oh, and IDK if this is done in the recording, but in The Reynolds Pamphlet, she gets given one, too, and her look of just… upset/disgust is also really painful. At the end they say ‘his poor wife’, but who thinks about poor Maria?? :(

I still wouldn’t say that this is an accurate adaptation of the real events, since I think that gets right into the script and structure of Hamilton in ways that a regional performance just can’t really make better. But this version is at least better. It plays Maria with more dignity, I think, than making her into a sexy bombshell, even if that bombshell act does get subverted in the original as well. This one feels significantly more sympathetic.

King George

He was great!! He was played by an older actor who seems to have done a lot of serious Shakespearian plays, which of course makes him absolutely perfect – both in that he could flawlessly depict that pompous old privileged Brit, but also in that he probably has a good backing in comedy and political satire :P He was clearly having the time of his life playing to the crowd – throughout all his time on stage he was constantly alternating between doing one or two lines very serious and mostly straight, before doing something absolutely hilarious. That back and forth worked extremely well!

Also I never saw it properly on the recording but when he gets up and dances in the middle of the stage during the Reynolds Pamphlet?? AMAZING.

Obviously, Johnathon Groff is his own personality and is friends with LMM and brings all of that unique stuff to the table that nobody could replicate. But this actor was just as much fun to watch, and does have the added benefit of really looking and sounding the part.

Final Thoughts

I’d really love to hear other people’s thoughts on this run, especially from the perspective of it being an Australian cast/audience – I really hoped the booklet would include at least a piece or two from someone who worked on this run, but it did not. (In fact, it was one of the scantest musical books I’ve seen? I don’t regret buying it as a souvenir of course but usually they have at least one or two interesting pieces of new content aside from just backstage pics…)

What really sticks out to me is the structure of it all. Hamilton is definitely the central character that brings everything together through the first ¾, but around The Room Where it Happens Burr starts to take over bit by bit, allowing him to keep up the energy as Hamilton falls back further and further into becoming both less of a hero but also more quiet and passive. By The Election of 1800, Burr is giving us all the energy – until the end of The World Was Wide Enough, when he too falls back and Eliza takes over.

Given this, this Hamilton did an incredible job throughout most of the performance – he had amazing chemistry with every other character and really exemplified that scrappy, intelligent, driven, but aggressive and difficult character that never quite shined through in LMM’s performance for me. Burr’s more subtle performance complements that well, and he even arguably outdoes Leslie Odom Junior in The Election of 1800. However, after that I think his quieter acting and singing sort of fails to fill the hole Hamilton left behind, reducing the climax a bit of its energy. Thankfully, Eliza was able to bring that all back for her final number.

It also strikes me that this performance is a bit less teary, at least from the men. Eliza, Angelica, and Maria all bring out that vulnerability and the sadness of their positions wonderfully – a great improvement in Maria’s case, for me. However, Burr’s The World Was Wide Enough severely downplays the sincere regret angle, while Hamilton never quite hits the right notes on It’s Quiet Uptown. However, Hurricane and Phillip’s performance in Blow You All Away definitely hit that fear and panic leading to self-destruction. (Interesting I guess that Burr doesn’t also seem more fearful in The World Was Wide Enough?) Is that also a gendered expectations thing, perhaps?

Either way, I’m extremely glad I was able to see it if only for Hamilton’s performance – honestly, maybe the reason it seemed to lose a lil steam was just that Hurricane was so good everything else failed to follow it, haha. Burr also absolutely fascinated me here, too, and that was so much fun to see play out in real time!

Hamilton will be coming to Melbourne next, and I’m not sure yet if I’ll be able to go there but I’d really like to! It’d be really fun to test out these expectations/conclusions of mine with a fresh viewing, as well as see any other new cast changes/interpretations…!

#Hamilton #Hamilton Sydney #musical #this is INCREDIBLY long lmfao #IDK if I should apologise or the opposite #I miiiight end up xposting to ao3 as well as a meta #if I can be bothered to read it through and edit it a bit maybe heh

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goldleaf-art · 3 years

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Fic Writer Interview

(I’ve been focusing more on writing than art lately so why not struggle to answer these questions instead of struggling to write fic!)

Tagged by: @avi17

Name: goldleaf/gold

Fandoms: LotR (like a zillion years ago, from 2010 -2014 I wrote a lot of Aragon/Faramir and no I will not be linking to them due to cringe-factor, ha! They are 100% still publicly viewable though), Hannibal, Dark Crystal: Age of Resistance, also currently in the middle of like 4 Stargate Atlantis wips so stay tuned for those

Two-shot: I don’t really ever write continuations or series, but I did do a 3-part thing for LotR once with three different POVs of the same situation, and I’ve written a short coda for a long SGA wip I’m still working on because who said I had to do anything in a logical order.

Most popular multi-chapter: I’ve only written one multi-chapter thing like 8 years ago for LotR, so I guess it’s the most popular by default! Not sure if drabble collections count, but if so my Hannigram flash-fic collection (and my Hannibal stuff in general actually) was my most popular.

Actual worst part of writing: It’s not even like, the ideas part, or dialogue, or like, any of the content per se, because even when I’m stuck there it normally comes back if I do something else for a bit. It’s just SITTING DOWN AND TYPING. I have the most monumental mental block over just, GETTING STARTED. And I mean, not just starting a fic from the blank page stage - starting any work on anything I’m working on, every single day. Picking up my train of thought from where I left off is so huge a thing I psych myself out every time (even though every time I do sit down I get into a flow at some point anyway so the faffing is usually needless.) I’m procrastinating working on fic by writing this post right now!

How you choose your titles: okay this is the second worst part of writing. I either take a line from the fic or just make up something that sounds clever but is ultimately meaningless honestly, by the time I’m getting around to the title I’m exhausted so it’s never that deep, ha.

Do you outline: like, vaguely? I'm historically a pantser though and through, but I have started noting down stuff I know needs to happen later on and in what order, if it’s a longer thing, whether I stick to that or even remember what the story is about is another matter. I fell into this trap with my current wip - had a vague plan, got to like, 20k and started having a crisis because none of it made sense and it took a lot of rewriting and throwing stuff out and editing forever to sort it into coherence, and it’s finally turning into a story? I hope?!

Ideas I probably won’t get around to but wouldn’t it be nice: I literally can’t think of anything because I've been so out of the fic game for so long generally speaking. I guess at the moment I'd love to write the perfect post-series longform SGA fic because god, free-rein on plot and canon and the potential for just going wild is infinite (and also I really secretly enjoy the IOA/Earth bureaucracy stuff) but Written By The Victors already exists so

Callouts @ me: step away from the comma key, gold. also stop shitting on yourself; you’re not that terrible a writer and all the crap you worry about is stuff no-one else notices. unrelenting perfectionism benefits no-one.

Best writing traits: uhhhh, haha. I think I've a decent eye for metaphor and descriptive language.

Spicy tangential opinion: not really that spicy but if you don’t like something you’re reading you are allowed to stop reading it.

Tagging: I’m not sure who’s not already been tagged out of folks I know who write so if you want to fill this out consider yourself tagged! :)

#fic writer interview #fic writing #goldleaf's writing

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seduceme-lovestruck-thearcana · 4 years

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@megatraven hehe. I saw your post of ranting about why you love Alex (I love those posts so much it makes me v happy) and I saw the one where it’s like “the fact that Alex learned how to love when they met MC as kids” had me like “oooOoh. An idea👀”. Like I just imagined the way they met. And this is stuff I’ve thought of for 2 days too so long post djwndb.

I imagine that yeah, maybe when they first met (when they held her in their arms when they were 5 and she was just born. Or well that’s how I like to imagine they met lol) they may not have loved her like that. I mean...all babies lowkey look the same and it’s a baby, you don’t know how they’ll turn out. They considered her family because she was another addition to Josh and Melody (MCs mom. They considered them family, so MC was now family). They loved her and swore to protect her because they were more powerful and could protect her. However, since they weren’t allowed on the surface too often and MC was very young and couldn’t leave the house too much, they didn’t see her often, so that love didnt grow or anything.

They didn’t love her as best friends or anything, just yet.

However, when she turned 5 and learned to speak and read very well and visited Olympus, their heart thumped when they spoke to her. Her voice was very soft like, soothing (even for a child), and they loved to hear her laugh. Well, they loved to hear everyone laugh, but they wanted to hear hers most. They were a little enchanted and liked to do a lot with her. They loved Josh too because he was family to them, but they learned how to really love someone when they met MC bc, well, they just did. They didn’t realize it at first, but overtime realized that they loved her since that day they met.

And hnnnng I’m happy and soft at imagining this for some rEASON.

And we know that when they’re drunk, they literally just give loving glances toward MC (like they don’t do that sober but anyways). They probably act on it too (if they’re dating) and just loVE her and can’t hold back the looks bc they’re drunk and are not thinking to straight lol. And I like to imagine that when they were kids they did the same thinnng hnnnng. Whenever she came over and wanted to talk to them about anything, they’d listen with interest and would just give her ALL their attention.

Even when they were apart, the other gods and goddesses that took them for the day (I believe they went with some of them to learn what they did?) they would think of MC sometimes or think of what she said to them. They’d remember what they did that day so they could tell MC if she came over that day. They loved telling her stories and always wanted to entertain her. And like you headcannoned, they would let her win most of the time if they played a game. They knew she wasn’t a sore loser, but the smile on her face made them happy and loved to see her happy aND HNNNG MEG.

AND THEN when you said they gave her that deer plushie of theirs, imagine that they saw her play with it the whole day she was at Aphrodites estate and that’s when they decided to give it to her. I imagine MC as too nice to out right ask to keep something or would be afraid to literally take something that someone else loved, so she’d just play with it while she was there. They noticed she really liked it and gave it to her.

AND WHEN YOU POSTED THAT FIC OF MC HAVING ALEXS PENDANT WHEN SHE WAS TAKEN AWAY FROM HERCULES AND SAID THAT SHE REMEMBERED HOLDING ON TO IT AS A BABY...it made me just so Soft. Like they hold her when she was born, and the first thing she does is cling on to their necklace. She reaches for it and holds it in her tiny hands. She just looks at it and looks like she really likes it. They laugh at her and she laughs back and it’s just WHOLESOME. Then, when she got a bit older (maybe 5), she’d still sometimes just hold onto it. Like, sometimes she’d sit beside Alex or on their lap bc shes small and she might ask to actually wear it but they’re like “haha, uh, that can’t happen-”. And it’s just funny, so she just holds on to it when she’s nervous or just needs something to do when she’s spacing out. And if they tell her a story while they’re laying next to her, she cling onto it as she listens and eventually falls asleep hOLDING ITTT.

And sometimes, if they were alone in the estate, she would ask Alex if they could let their aura out. She loved to see their aura (and it’s why she loved the deer plushie so much. It always felt like Alex was with her🥺) and loved to pet it. Sometimes they’d let it out and she’d be ECSTATIC. They might make it literally just run around her so she could watch and laugh and be happy. Sometimes they’d let it lay right beside her as she fell asleep in the estate. And since they didn’t see each other often (like other best friends could) they’d always let her cling into their necklace, let her cling onto them, let her play with their aura, or do whatever she wanted with them. They knew they wouldn’t see her for maybe another month or few days, so they mainly just wanted to make her happy and enjoy their time with her when she was there.

And maybe ONE time they let her wear it and took a picture of her. It hurt a little bit without their aura, but they really wanted to see it on her. And she didn’t even ask one time and they were like “turn around and let me put it on you”. She’s happy but doesn’t understand that it’d probably hurt a lot. She only realizes once it’s on and she smiled at them. They smiled back but then it crashed down on her that they might be in pain. She’s like “OH NO,” and gives it back to them immediately after they take the picture. They still laugh sometimes at her almost crying bc she thought that she truly hurt them.

And once MCs mom got the picture (Alex got one and so did MCs mom bc Aphrodite saw the picture and wanted to share it lol) she held it close to her too. And I like to imagine she had a wallet with her badge and stuff in it aND SHE’D HAVE PICTURES OF HER KIDS!1!1! And then when she died and MC joined H.E.R.A, she also keeps her moms badge in her purse or bag. She just can’t let go and likes to think her moms there with her. Even before she becomes a field agent, even if she’s just working at a desk, she likes to see her moms badge when she gets a little scared or worried. She opens her bag, gets the badge, and sees her moms badge and how she was smiling in the photo and how happy she looked. She had her hair down (for once at work) and looked so young and happy. And it made MC happy and feel a little more comfortable. She may get teary eyed, but takes a deep breath and shakes her head. She can’t get sad now. Not here. She can’t get sad when she’s trying to do her best to make her mom proud. Even though her moms proud of her already, she doesn’t know that and wants to do the best and theres no crying on the job.

And imagine when Aphrodite and Hades somehow got to see Melody’s (MCs mom) badge when she died, they see photos fall out of it and it’s just pictures of MC and Josh. Pictures of them all together, pictures of just MC, pictures of just Josh, pictures of Josh and MC together...just pictures of her kids. Of her life. The pictures may be a bit small, but they both clearly see a smile on Melody’s face if she’s in it, and they know she’s smiling behind the camera or would smile when she looked on these photos. Now they know what she was looking at in her purse when she was stressed. It wasn’t looking for her phone or looking for “something”. She was looking for the pictures that reminded her why she was working at H.E.R.A in the first place. She wanted to make a better world for them and for the people in the world.

And they know deep down it wasn’t because of her relations with Hera. It was just because she truly wanted to make the world a better place. She truly wanted to help the people around her and wasnt pulled to Olympus bc of Hera. She was pulled bc she loved the people there as her own woman, she fell in love with Aphrodite as her own woman, she made Hades laugh and love her like a sister as her own woman, and she did so many things that were amazing. And she died trying to protect something that she truly loved.

I’ve thought of all of this for 2 days and I’m Soft™️.

And unrelated to AFK and such, sorry that The Girl in The Blue Dress has so many chapters and it’s just her dying again and again. I would start with the main story and sprinkle in the other lives, but I suck at doing that (I tried but am terrible at it. It never makes sense) so I always start out with the background even if it’s kinda long. So my bad lol. Hope you don’t get bored👀.

And sorry if there’s mistakes I don’t feel like re reading this mess DJWNDBW.

#my writing #alex cyprin #astoria fates kiss alex #astoria fates kiss #afk #lovestruck #I LOVE them #theyre so precious #and imagining them and small MC #makes me happy and even more soft #we love soft Alex for MC hereeee #and I HAD to drag MCs mom in it somehow #and some angst in it #bc thats how i roll lol #astoria fates kiss MCs mom #we love sadness here #friends talk #my friends are my power #friends are my power

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vaguely-concerned · 5 years

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TEMERAIRE LET’S READ: BLOOD OF TYRANTS, THE WILLIAM LAURENCE CHARACTER DEVELOPMENT NG+ SPEEDRUN

- oh NO LAURENCE D:D:D:

I do love that one of his first realizations is that he’s definitely not dutch tho lol this dumbass remembered that he was english before he remembered his own name

- caught between OH NO TEMERAIRE (and it’s only page 9 it’s going to be one of those books huh) and laughing my ass off at the thought of him swooping into notoriously isolationist japan and yelling ‘HAVE YOU GUYS SEEN MY DAD???’

- “Yes,” [Laurence] said, unyielding, as he could not be otherwise. ahahahahaha way to summarize the entirety of old school!laurence with one fucking sentence

(I am very much enjoying this uh. ‘setback’ of his character actually? novik really did just roll him back to factory settings and went ‘now... from the top again, let’s see if you’ve been paying attention these last seven books’ haha. no one told me there’d be a test!!!!!!!!!!)

- Kaneko really has the patience and graciousness of a saint, @ laurence please... please try to be marginally less sketchy hm? (I guess his sheer obliviousness to how direly he comes across here must be why kaneko hasn’t dismissed him out of hand)

- y’know... at least laurence is in no position to have to worry about all this shit temeraire and the others are pulling. when people start talking about black-scaled celestials shaking the country to its very foundations he’ll be blissfully, innocently unaware. that’s something, I suppose... well who am I kidding we’ll 100% get a couple of paragraphs of him convincing himself this is all his fault somehow anyway

- . . . and His Majesty’s Government does not behave in such an underhanded a manner as to attack another nation with no warning or quarrel. aha ha ha ha ha ha ha ha ha ha ha oh what a strange beautiful fantasy land you’ve been residing in for most of your life william laurence, hang on tight for the opium wars

- hahaha oh my god this is like a platonic version of that text post

temeraire: have you guys seen my dad??!?!

them: what does he look like?

temeraire, crying: beautiful and human and has gold buttons

- I take it all back old school laurence is such a tremendous idiot. just PRETEND you’re willing to cooperate at least you huge fuckign dummy, all you’d have to do was say something vague about how the ship can’t get too close to shore; it won’t actually help them and they’ll know it but you won’t make yourself look so unspeakably willfully suspicious

- :( making me read things where temeraire is just hurting should be ILLEGAL actually

- NO LAURENCE STOP TRYING TO KICK LITERALLY EVERY POLITICAL HORNET’S NEST WITHIN REACH BAD BOY he is... a disaster but I love him and fear for him as a son so here I am anyway

- hahahahaha yeah wow laurence it sure would suck if you ever had to commit treason huh death probably would be preferable indeed

b o i

- i like that it took him like a week to even give a single thought to edith lol at least he remains aggressively himself

- I think temeraire basically just invented dragon baby photos and I can’t even think for how darling it is

also every dragon physician is delightful; they fear neither god, man nor huge ass patients who could swallow them in a bite

aw man I love gong su

- ahahahahahahah kiyo is the actual best I can’t breathe

KANPAI INDEED, MY LADY, MY LIEGE, I DON’T CARE WHAT ELSE HAPPENS I WOULD FOLLOW YOU TO THE ENDS OF THE EARTH

Laurence was forced to at least moisten his lips in a show of accompaniment, and hope that he had indeed buried Caesar and not praised him, or for that matter raised him from the dead one act too soon; he was not perfectly sure. He did not think he had been this appallingly drunk since he had been a boy of twelve, trying to make good on every toast at his captain’s table. I. am. dying

thank you thank you thank you for the mental image of laurence drunkenly trying to stumble through the ‘friends, romans, countrymen’ speech as well as the entire rest of the play in a one-man performance

- oh no... I would die for junichiro, baby boy who loves his teacher SO MUCH ;____________; aaaaand there are laurence’s adoption instincts, I see, right on time <3 I like how they have had one actual conversation now and laurence is like ‘ah well nothing for it then guess you’ll have to stay on my ship and I’ll have to be your dad now, brash 16 year old child’

junichiro is being Full Teenager about laurence not knowing ~*obvious*~ things and it’s a delight

- y’know this period of japanese history is always portrayed in the west as paranoia and it could probably only be done because the country was a strict military dictatorship at the time... but having read oh, any history book ever, deciding that nope nah don’t think so no europeans ever is the greatest ‘fair enough’ in human history. (...I guess this series is sort of AU fix it fic of the period in the first place haha)

- seeing temeraire this level of straight out angry is very interesting and also very unsettling

- ooooof whenever laurence almost-remembers temeraire... stab me in the heart why don’t you

- man churki really is the mom friend of these dragons she’s the only one who has a lick of sense

- *laurence, upon clobbering several men with an oar* “Ma’am, I beg your pardon,” Laurence said to the old woman, who was still sitting ramrod-straight in the ferry over the side from him and regarding him with a flat expression of utter disapproval and not the least evidence of fear; he put out a boot over the side and shoved the ferry off with a heave

god this book is just a continual parade of glorious mental images, just this old woman glaring at him like ‘RUDE’ and “Ma’am, I beg your pardon” fdslfhsdlkjh

- I have a lot of sympathy for hammond. imagine having to navigate the extremely delicate diplomatic situation between europe and japan, with the real prospect of a war breaking out over it, while temeraire is looking over your shoulder... real dragon in the glassware shop vibe going on here, i’m sorry about your life hammond

- AUGH laurence just sort-of-remembered emily he just half-remembered he basically has a daughter someone hold me (...junichiro is so so sweet ;___;)

- bwahahaha yeah I’m sure the only reason this impressionable young kid who’s slowly becoming very impressed by you has for sneaking glances at your bare chest is manly appreciation of your battle scars laurence, well done (I mean a supremely understandable innocent teen crush to develop but stay safely out of that, kid; I trust tharkay to survive the sheer field of mayhem around this man only because he’s got like 20 years, extreme competency and a world of cynicism on you)

- aw junichiro :(:(:(

- ...laurence you need to stop making your dragon boi think you’re dead because this is hurting me. my heart lies in sad little pieces on the ground right now. you are stepping on them with tapdancing shoes.

- “I am under an obligation to Junichiro,” [Laurence] said, quietly, “who you must know has aided me for love of you. If I surrender myself and am made prisoner in this way, will your honor be satisfied?”

fdsfhsdkfsdja *ELMO SURROUNDED BY FLAMES GIF* this is all awful they’re all such good people why must this happen why this

(what a way to remind me why I love this stupid wonderful man so much tho uuuuuugh)

- “He is a prince of China, and my captain.” “The devil I am,” said Laurence. This might be the funniest heartbreak I have ever experienced

- good job making me cry whenever I read the words ‘principia mathematica’ naomi novik that was real nice of you

- maximus is such a solid bro. not the brightest, but by god a good 80% of that boy’s gigantic body mass is pure heart

- I love the sheer trollishness of just dropping all these hints about whatever’s going on in the US and then moving on like nothing has happened lol at least it’s deeply implied that hamilton squandered his chances at the presidency by pulling his dumb hoe act in this universe too... constants and variables friends constants and variables

- bOY for a moment there I really did wonder if junichiro was going to die, thank god for a quick google to stop my heart from leaping up my throat and out into thin air to shatter yet again on the flagstones beneath

- in unrelated news I recently found out a bit more about the whole historical Situation in Australia at the beginning of Tongues of Serpents (incidentally, by reading Mark Forsyth’s ‘A Short History of Drunkenness’, which is very funny and quite interesting although I can personally testify that the chapter about vikings at least is completely riddled with misunderstandings or straight out factual errors about the mythology, the role of women in society and uh the entirety of how poetry worked so maybe take him with a pinch of salt lol), and now, in retrospect, I have to say Novik does a poor job conveying the sheer hilarity and madness going on at that time. Like. I was quite bored in those first few chapters, whenever Tharkay didn’t have page time. how could you make this incredible spectacular shitshow boring. it should have been easy comedy gold and not just like. misery. oh well great times, let’s return to the book at hand

- I remain utterly devoted to Lady Kiyo. livin’ life, drinking sake, giving no fucks, absentmindedly scoping out the western style ships and starting an entire modern navy for her country, getting some Theater up in here.... truly I would follow her into the jaws of hell itself, safely in the knowledge that she’d find some way to have a good time down there

- kaneko tearing up at laurence promising he’ll take care of junichiro 😭 this is so cruel to me, personally, specifically against my person, I am undone

- I like how the incan dragons are told like ‘don’t pick just one special person; you can love all your humans equally’ while the poor japanese ones are told ‘actually don’t love any of your humans very much at least not more than Honour’ lol they must have so many neurotic dragons running about b/c that when that attachment happens it seems extremely central to their psychology (and considering lady arikawa it’s not like they’re exempt from it, they’re just supposed to repress it to conform)

- laurence desperately trying to work out whether emily’s his daughter without actually asking anyone... delicious

the descriptions of roland’s letters: even more delicious

- temeraire sees the sad remnants of laurence’s robes and ‘hello darkness my old frieeeeend’ starts playing in his head... too bad laurence isn’t really in a position to experience the relief

- He is very much a one-note character, but O’Dea’s resolute dedicated fatalism is extremely funny

- hahaha poor temeraire... when you try to introduce bae to the family and they insist on being TOTALLY EMBARRASSING god

- The guilt of having caused pain to one deserving only consideration at his hand mingled with unanswered disquiet. I’m bawling laurence’s dad instincts are so pure and good even tho everything’s a bit messed up right now. like this whole paragraph is so powerful b/c you can see laurence’s natural loving impulse at war with his dad’s cold authoritarian parenting style and because his lived experience is removed he doesn’t know what is right.............. oh b o y

- oh okay I see my earlier comment about the opium wars proves unexpectedly prophetic

- it cannot be overstated how much I love junichiro or how happy I am that laurence is being so soft and patient with him. this kid has Been Through some shit

- emily roland shoulder to shoulder with laurence killing fools and he never doubts her for a moment... *chef kiss emoji*

- the problem with these books is that there are just so many good characters and so many of them don’t get any real page time in any given one -- I’m sitting here plaintively like ‘I realize this is not the most pressing issue right now but how is demane and sipho doing. are they okay. does sipho have enough books’

- ouch memory loss isn’t stopping laurence from flashing back to victory of eagles :(

there’s something so disconcerting about knowing why laurence reacts to things the way he does when he doesn’t; novik is using that very efficiently, this is a very satisfying use of amnesia just from a writer’s POV haha

- I like how none of these suckers really have the tools (or in some cases even inclination) to understand how messed up junichiro’s political situation is in all this

they just expect him to come home to britain with them and meanwhile he’s just found out that The greatest threat to his nation (from his POV I mean china/japan relations irl seem uh complicated) has more dragons in one field than he’s ever seen in his life. it’s a rough and lonely deal being this kid in this book

- oh ouch yes hey there laurence there might have been... a little bit of treason. true. extremely justified treason tho. I mean. oh dear

we don’t have tharkay and his unique mix of deep cynicism, incisive sarcasm and surprising depth of concise moral clarity here to assist with the aftermath so this could get u g l y

- listen what did I SAY about making me read about temeraire being miserable :(((((((((((((((((((((((((((((((((((((

- SIPHO!! hey baby boy pls have some thought for your brother’s cardiac health tho

- aaaaaaaaaaaaaaaaaaaaw the fact that laurence is getting out of this crisis so much quicker this time because of his bone-deep instinctual knowledge of how much he loves temeraire, which doesn’t need specific memories to be true and felt. god. jesus. stars above

- laurence: approaches little

little: gay panic

- [Laurence] groped after the truth of himself like a prisoner in Plato’s cave, watching shadows. *clenches fist with great emotion* fuck naomi novik why must you be such an excellent goddamn writer im in pain

- oh hay arkady

poor poor temeraire feeling like a failure in every way is so awful but also kind of funny. ‘oh shit arkady’s egg oh fuck oh crap’

- I LOVE that hammond is so clearly and repeatedly shown to be a very astute political thinker and working shit out before everyone else! he may be a dumbass and a bit of a weasel but by god he’s great at what he does!

- laurence wouldn’t have changed anything if he could u guise. I . that. hm. oh

- thARKAY

.........arkady I am only a human and a small one at that but I will find some way to climb up there and wring your neck

(how cute is it that apparently jane roland realized she needed someone to find laurence and was like ‘well I need someone who can take care of themselves and knows the area and speaks dragon and Understands the chaotic ways of william laurence and also has looked uncharacteristically like a kicked puppy at the very mention of his name ever since being forced to leave him behind in australia.... hey tharkay you want a job’ fhkjshdfkalhsd)

- I’m very glad I googled ahead and spoiled myself a bit on this, because if I just read this part fresh I would have expired on the spot

- MISSION GET MY BOY BACK SAFE FOR GOD’S SAKE is a go

- general chu is pretty cool for an old dude you feel me

- . . . and Laurence knew him; knew him and knew himself.

ahahahahahahahhahahahahahahahahahahahhahahahahahahahahahahahhahahahahahahahahahahahhahahahahahahahahahahahhahahahaha

hahahahahahahhahahahaha

hahahahhha

haha

what... what pure undiluted soulmate nonsense is this. what. how. WHY would you do this

- I think I said something offhandedly in my victory of eagles reactions about how tharkay makes laurence remember who he is. I. thought I was exaggerating slightly for dramatic effect at the time. um wow

- I am having the sort of feelings about I need to write fiction about because my ability to express it any other way is failing me. That’s just about the highest praise I could give, really, Novik sure knows how to plant interesting seeds in her stories lol

- for the record this is not how I wanted him to end up in laurence’s bed

(im not thinking too much about how he got hurt b/c if I do I’ll start crying and that’ll just be embarrassing for everyone)

- “I hope you will forgive my mentioning it, Will,” Tharkay said, eventually, rousing Laurence from his reverie. “ -- I recognize there is a certain pot-calling quality to my doing so under the circumstances, but have you noticed that the top of your head appears likely to come off?”

a) my love for him is just. so pure. so complete. so deep b) consistent first name basis; the one sure way to make me swoon c) the implication that he’s just been quietly watching laurence while he was lost in thought... im so soft

- oh god laurence very gently helping out demane and roland because he remembers now....... i cry and my tears are blood welcome back buddy

- “I am of the opinion,” Tharkay said, “that you ought not assign to free will something more likely the consequence of a sharp blow to the skull.”

he truly is the gift that keeps giving. an endless cornucopia of sarcasm and delight. we do not deserve him.

- [The man he was eight years ago] would not have valued his own feelings, on such a matter, higher than the law and the discipline of the service. *AIRHORN AIRHORN AIRHORN* there we have it folks that’s literally his character arc spelled out, he would have done SO MUCH BAD SHIT because he thought his own feelings didn’t matter and yet he chose another direction, stupendous, brilliant, revolutionary

also him trying to get his support across to both of them in as roundabout and discreet way as possible... laurence you beautiful disaster

- im just so happ. so happy. so happy temeraire has his dumb dad back

- oh so the russians think the BRITISH, of all people, are too soft on their dragons... ruh-roh

- sdfskadlfj yes good tharkay the ROBES (also the implied depth of fond schadenfreude-tinged amusement contained in that ‘those particularly magnificent robes’.... *prayer hands emoji*)

laurence is like ET TU BABE?????

I think this is very delicate gong su speak for ‘please do not be a dumb bitch your majesty’

hahaha chu knows what’s up -- I am growing desperately fond of him, please don’t have him suffer any cop-one-day-from-retirement style accident

- “If I may cut your Gordian knot,” Tharkay said, with a glint in his eye. fdsklfhsdkflhdsakjfhdskjh remember back in black powder war when he was all closed off and phlegmatic and purposefully distant... and here he is... with a glint in his eye and a crazy ass plan that requires other people and that he actually shares before pulling it off and calling laurence by first name in public......... we’ve come so far

- Also this means he’s close enough to Laurence’s height and build that he can wear his clothes without it looking weird, which is nice to know because Laurence is sometimes more preoccupied with describing what men are wearing than, y’know, what they look like lol. (probably not quite as broad in the shoulders, tho, since it’s pointed out every time laurence is described that he has shoulders like a linebacker)

- temeraire: eXCUSE me god didn’t do this the emperor of china did???!?! rude???

- pffffffffff tharkay and chu being jaded world-weary bros for a second there... this is what I read these books for folks

- NOOOOOOOOOOO chu this is the one thing I asked you NOT to do D: temeraire being sad and scared about it is slowly murdering me, thank god laurence is back online for him

- dunno this napoleon dude sounds pretty great and all but this also sounds suspiciously... like trying to invade russia in the winter time. immovable force and unstoppable object or something. I mean I don’t read history so I don’t know. might be a great idea. who’s to say.

- I see that tharkay and laurence have reached the ‘communicating complex information solely through eyebrow movements’ stage of their relationship. *drinks this excellent excellent OTP juice with both hands*

- god I love how cool temeraire!napoleon is, in a strangely believable way. he’s just so weirdly charismatic and novik is SO GOOD at setting up a situation so you understand just how brilliant a move he’s made whenever he seems to be backed into a corner and turns it all around. I kind of want him to win at this point (though tbf all of europe fucking sucked at this time so like he doesn’t have to doll it up TOO much to look better by comparison haha)

- boooyyyy Laurence is P I S S E D (also him being like ??? :D that the general basically agreed with him lol)

ALSO also the fact that laurence does not realize that he’s like the fucking horror story all the major authorities around the globe tell each other at night... fjksdfhsdkjlhf

ah russia. truly consistently one of the most shit places to be a peasant or apparently a dragon through so much of history.

- junichiro Y__________Y no wonder laurence is so protective of him, he’s finally met someone as stubbornly stupidly ~*honorable*~ as himself. godspeed bb boy I wish you only the best even though I know your story line is never properly brought up again

- I ship... roland and demane... so much. like with my heart. she’s so young and earnest and curious and misses him so much and casually scandalizes alice about it fsjdakfjhds

- well I mean. dragons eating people is clearly not g r e a t but also... karma. y’know?

- this is a lot of words to use to convey the sentiment ‘oh they are all so fuuuuuuuuuuuuucked’ naomi novik

(feels a little like she wrote herself into a corner here tho -- she’s set up such an impossible situation, in RUSSIA in the WINTERTIME, that I’d need a hell of a lot of convincing to believe they get out of it)

- aaaah okay I really enjoyed this one too, especially the first half! I feel like this series is often at its most inspired when it sticks to a tighter character focus (for example I still vividly recall the part in the first book where Laurence stays in his father’s house and it’s Bad. relatedly........ F U C K lord allendale), and this brought that in spades. I love this series so much, it’s shamefully underappreciated in the speculative fiction world.

also it brought *me* to my knees with a simple “Tenzing,” [Laurence] said, which... holy shit. fuck. damn. that’s my personal recommendation of this book, tbh, even beyond my wish for this series to be more appreciated within the genre: Tharkay was there and it was very gay and non-obnoxious soulmate vibes???? I never even thought it could be done but here we are

This is probably going to be my last reaction thingy for the foreseeable future, since my local library doesn’t have book 9 and honestly... having read a few summaries of what happens in it I’m not that keen on reading it? That’s not the ending to this story I want, so I’ll just live over here in denialville, I-realize-the-author-made-the-choice-to-not-make-further-use-of-Lien-AKA-THE-coolest-antagonist-in-this-series-and-indeed-did-not-wrap-up-numerous-character-arcs-or-plot-lines-but-I-don’t-like-this-choice-so-I’ll-ignore-it

(actually I do sort of appreciate the idea of not having one grand final duel or something, because that’s not how it usually works in real life, but that she’d just shrug and not mercilessly hunt for the revenge she’s so clearly motivated by when everything she loves is falling apart around her again... that’s too much of a letdown to bear, really)

let me just... live in willful ignorance and pretend anything could happen from this point onward haha.

- let me give a final shout out to my boy gong su, who’s been hanging around since book 2 (!) and yet we do not know One Single personal detail about him for certain except that he sure knows how to handle knives. that’s some good spy shit right there, he knows what he’s about

#temeraire #blood of tyrants #willzing #william laurence x tenzing tharkay #aaaaaaaaand last one for a while! I had a lot of fun with this one even though I lost focus for weeks at a time at some points haha #that's not the book's fault that's very much a me problem

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scarlettlawyer · 5 years

Text

Part 4 of my commentary of @renegadewangs‘ fanfic series Phantoms and Mirages.

Part 1 | Part 2 | Part 3

Now, onto Haunted Specters! God, I love Haunted Specters.

It’s such a pivotal and crucial stepping stone. Just about all the major actors on the playing board, and in fact, the playing board itself all get rearranged in a careful balancing act that sets the scene anew.

It is, or at least it was, SUCH an incredible struggle for me to reconcile the phantom from the previous fic with the phantom we see in this one (and subsequent instalments, even) upon taking a step back, and with good reason, although for me the divide ran a little deeper, as it completely boggled my mind how this was somehow the same character being written by the same author, let alone belonging to the same fic series that somehow had a line of continuity where it made sense for these characters to end up in these situations – this situation.

I don’t merely refer to the phantom’s characterisation – what’s so great is that you can totally get away with writing him in this manner and have the audience accept it, seeing as he’s suffered a traumatic brain injury from the fall. It allows for a great amount of freedom for what direction to take the character in that would have been absent before.

No, I also refer here to (of course) the dynamic he shares with the other characters, the way he is portrayed and positioned by the narrative, and lastly, my own personal approach to reading and my feelings towards – level of investment in the character as he is in this series. As I’ve rehashed many times, I wasn’t very absorbed in or on board with this series’ version of the phantom for a lot of the previous fic when I first read it, at least until the end. But now, going into this fic, I was fully invested in especially seeing and learning what changes and impact the fall had made on him, and there was a new, thrilling level of unpredictability attached not only to the character, but to the plot itself.

By all accounts, the series so far had set me up to want to see how Blackquill and Bobby were finally going to take down the Big, Bad, Evil Phantom once and for all. How they would, against the odds, track him down and apprehend him against his will in what was bound to be an epic showdown. I was ready for that. It’s what I wanted to see. When I previously mentioned wanting – yearning for a “slightly lighter take” in my first post? That was gone now. I was ready for some pizza, at last. It’s what I had been conditioned to expect so far, so I was like, why not? I was like, heck yeah, let’s do this.

And yet, the narrative didn’t hesitate to seem to want to throw all of this out the window altogether. My expectations completely and utterly thwarted, I found myself realising I really had no idea what direction this could possibly be going in (or why my expectations had been thwarted so thoroughly like this). I well and truly had no idea what would happen next most of the time, because I couldn’t fathom where things could possibly go, and that had me hooked to reading, so eager to know what would happen next since it was such a mystery.

Rereading Chasing Phantoms as I have done for these commentary posts was helpful in truly establishing in my mind that yes, that was the same phantom, the same phantom, the same man that is present continuously within this series. That needed to be reconciled not just with regards to portrayal, but also my own misconceptions outside of that about how the story and character were constructed back then.

But I’m getting a little ahead of myself here, so let’s start off with looking at the first few chapters.

Haunted Specters, Chapter 1

…You know, right off the bat, I know/figure this series was mostly (if not wholly) written prior to the release of SOJ, and yet. I could be wrong but it looks like all of the provided dates still seem to match up in order to make it remain fully compliant to ace attorney canon. As in, there’s nothing directly contradicting it. And if that really is the case, well that’s just pretty damn awesome all around. AA7 will surely come along in future and ruin the fun of that I’m guessing, but for the time being, you can’t tell me all of this stuff wasn’t happening in the background even as AA6 was going on. AA6 all seems to take place prior to chapter 1, anyway. God bless timeskips!

...Wait, wait, coming back to edit this much later: scrap that. Apollo’s presence throws a spanner in the works. Ah, well. We can work around that, I’m sure. I’m gonna play around with it in my mind until it fits, somehow. :P Even later edit: Oh also Gaspen.

When Simon left the office, he couldn’t quite keep the broad grin from his face, nor the light skip from his stride.

This is so cute oh gosh happy Simon!

Save it for a more appropriate time- that was what his therapist had taught him.

Oh? Oh really? Is that so? Who might that be? No one important? Oh you mean? You mean the courtroom sniper? Is that right? You mean the phantom’s future

Boyfriend?

Nah, that can’t be right. Carry on then.

Hah, don’t worry, I’m not complaining. Lang Zi says: A man who cannot keep his own affairs in order lacks the competence to be having affairs.” “… No offense, Lang-dono, but at times the suspicion dawns on me that perhaps you’re making some of these sayings up as you go.” “This coming from the man who has a thousand and one prison anecdotes to share?” Lang paused for a moment, then his voice took on a much more serious note. “Anyway, I’m not calling for idle banter.”

“Haha, yeah, good one, so anyway, there’s a good chance your boyfriend might be dead.”

Haunted Specters, Chapter 2

“No! Hold it! Mr. Butz had no reason to kill anyone!”

I WAS WONDERING IF THE DEFENDANT WAS SOMEONE WE KNEW SKNJSDNKJ

“So tell him to hold off on ordering another useless gravestone with my name on it. In fact, tell him to stop looking for me while you’re at it.”

ANOTHER- god I love how completely wack some of these characters’ lives are/have been.

“… I gave him your regards. I gave him your regards, and then some.”

Me, known phantom fangirl trash: OH GOSH IS HE OKAY???

Me, knowing full-well that Bobby would be 100% justified acting in self-defense against a known emotionless killer, therefore also with somewhat mock concern: OH BOBBY PLEASE TELL ME YOU DIDN’T HURT HIM

(Oh, but he didn’t. I needn’t have worried.)

Ah, I’ve been sitting here, wondering what I can say to this. How his assessment is completely aligned with reader expectations and further sets them up only to be subverted, how far off his guesses are… I just… “even the tiniest glimpse of him” they’re… they’re sharing an apartment… Yeah. We’ll get there. I couldn’t find an appropriate reaction image to the above block of text, really.

Haunted Specters, Chapter 3

Okay this is extremely pernickety, and I apologise, but…

And, mind you, I usually pay no attention whatsoever to these things, and it honest to goodness makes no difference at all in the end – if the narrative says it’s Tuesday, then it’s Tuesday. Simple as that. I merely looked it up out of curiosity and because I’ve annoyingly taken it upon myself to micro-analyse everything in this fanfiction series like a little pest. I also kinda figured because you are picking out the dates and actively calling attention to the day of the week, that you would have some kind of system that you are sticking to for it (and the vast majority of details added into your fic was done so meticulously). And maybe Google is off on the calculation and you got it right, heh. But yeah, I definitely paid no real mind to this at all when reading it the first time around.

But then… Even if Fulbright was now avoiding help from the people close to him, that didn’t mean there weren’t any people close to him. Similarly, the Phantom could never quite work alone.

Okay, okay. I know this is a direct lead-in to re-introducing Domestique into the mix, but… oh my gosh. You really just went right ahead and… Hm! The phantom can never quite work alone. He is working with Bobby right now, as a matter of speaking.

Also. I really like Domestique’s dialogue when he’s forced to face Simon, gosh. Just so unabashedly in-your-face, so dotted with swears, it’s kinda great, really.

I ESPECIALLY LOVE THIS LINE FROM HIM:

Because honest-to-goodness, it’s kinda funny how direct it is (and the “THAT’S TWO DIFFERENT COUNTRIES” asdgd), but also rings really true in a “this is exactly what someone like this would say in this situation” way – exactly how they’d phrase it.

…

Oh, I love. This meeting between Bobby and the phantom at the end of the chapter. It’s – aaah. Very good. With the way it’s set out, you’re somewhat kinda like, oh, huh, is it really him though? Could it really be him? But the narrative goes right ahead and keeps dropping explicit hints. It still doesn’t outright confirm it, leaving the slightest hint of plausible deniability that perhaps this is a New Character we’re being introduced to, but… :D

Haunted Specters, Chapter 4

Even the revelation that the Chief Prosecutor had helped uncover a mole who’d been hiding right by Lang’s side was a story that’d spread through hearsay only.

Second reference to the Her 👀 (yes, I’ve been paying attention to that on this readthrough).

“Coupons. Ambassador Palaeno sends me a considerable package of these things every year, yet I find no use for them. They’re redeemable only in Cohdopia itself, so I’m sure you see my problem.”

Bro. Bro you keep making vague references to characters only for them to actually become super important and plot-relevant later on. I’m blindsided every time.

Me, reading this for the first time: Haha nice reference to a minor ace attorney character, yes, Edgey would totally still receive coupons from him. I can see that. He’s totally unrelated to this story though.

Me later: THIS SUCKER WAS ALREADY BEING REFERENCED AT THE BEGINNING OF FIC 2.

The Chief Prosecutor received gifts from the Cohdopian ambassador? Honestly, everyone was intertwined in one way or the other, weren’t they?

Good work. This is very true of the ace attorney universe and it’s cool that Simon takes note of it here like this. But it’s also very true of this fic series as well, helping reiterate that fact. Oh, Simon, you don’t even know yet how intertwined everyone even is…

You set the scene so well upon Simon arriving in Cohdopia. Really depict the atmosphere and everything super well!

So then, Simon arrives at the address, and he finds… Bobby? And it’s like, wait, wasn’t that supposed to be the phantom’s address? Why’s Bobby here? Aint that hugely coincidental…? How did Bobby find… Well, he did cross paths with the phantom, so I guess he also managed to track him down to this place somehow and he just so happens to be arriving at the same time as Simon (?!) and then some other stranger that Bobby seems to know arrives and…

…

…What?!

I love how there was still plausible deniability up until the very moment Bobby says it outright. Like, the phantom’s apartment might have been abandoned years ago, and this “stranger” is completely unrelated, and took up residence there some time after it was abandoned. Yeah – a stranger that will be an important ally and help them on their quest to bring the phantom down! Right? But Bobby’s behaviour, and then he… that’s… that stranger is no stranger at all…

Simon waited, all sorts of hypotheses dawning on him, each more ludicrous than the next. As it turned out, one of the theories he’d dismissed almost immediately on grounds of being too farfetched turned out to be truth.

LITERALLY ME

Haunted Specters, Chapter 5

“I warned you, Simon. Now back away,” Bobby hissed, grabbing him by the arm to pull him away from the faux Cohdopian.

“Faux Cohdopian”… Well,

Anyway. Well. Wow. What can I even say about this chapter? Most of it’s all contained in Simon’s POV narrative itself.

First off, you have the obvious, “whoa, this is how the phantom is being formally re-introduced to the narrative? I really don’t know what I expected but it sure as hell wasn’t this.”

This chapter, this situation, the characters, are all so incredibly volatile and it plays out, it really plays out with that constant volatility.

I, kinda immediately suspected that something was off in that the fall had done some damage to the phantom’s mind in an important, meaningful way.

Bobby’s behaviour is so surreal. Just like it is to Simon. There’s so much going on, so much to process all at once.

“I think that even you, Phantom, would agree this is nothing short of folly.” A moment of silence followed. Sam didn’t so much as blink at the question. He merely downed the pill he’d been given by draining the water in one go. “… Sam doesn’t speak English,” was all Bobby said.

Now THINGS LIKE THIS, are what made me think, well, the narrative seemed to be encouraging this viewpoint that maybe, at this point the phantom doesn’t actually remember being the phantom. Maybe he lost all his memories, and he’s just wandering around as some poor confused amnesiac who genuinely thinks he’s Sam Specter. (That doesn’t explain a couple of things, but it was only a temporary thought of mine as I read through). But this viewpoint allowed Bobby’s behaviour to make sense in my eyes. It raises a very interesting dilemma. That the phantom is still despicable and needs to be brought to justice and what have you, but how? The phantom is completely absent now, if this man has no memories of any of that. If he genuinely thinks he’s Sam Specter, an innocent civilian who has done no wrong, and for all intents and purposes is trying to live his life as such, reacts as such? Then Bobby would probably bear no ill will against “Sam Specter”. That perhaps, well and truly up until a certain point, “Sam’s” act was not an act. Or it, at the very least, was much less of an act than it would usually be. It’s… quite convincing. In which case, Bobby wouldn’t want harm to come to innocent civilian “Sam Specter”, even if he used to be the phantom. But now? Now he’s just some weak, frail man with a serious mental condition.

The attempts to affirm the personhood, to what extent there is one, of “Sam Specter” is a very interesting point of contention.

With this in mind, as Simon went after the phantom trying to get him to come out, I kind of expected it to consistently not work. That Simon would just keep pushing and pushing to be faced with that murderer once more, only for “Sam Specter” to never break character, perhaps because there is no real character to break from at that point, so caught in a delusion. For Bobby to want him to stop because at that point he’d just be needlessly harassing “Sam Specter”.

But then he does break character, so that theory kind of goes out the window.

He’d been cornered, faced with the truth and forced to drop the charade.

But. It’s still not revealed to what extent the phantom was impacted by the fall. And I kind of got the impression that the phantom was “holding onto” the act… more than usual. More than he usually would. He only broke character under duress, so there are still a whole bunch of questions raised here about just how much he was immersed and caught up in the role of Sam, exactly. Also. Yes. On a second readthrough he reacts fiercely and breaks character specifically after the asylum comment and I just – oh my GOSH.

Also: Peacekeeper Bobby…

Bobby’s gaze moved from the broken glass to Sam Specter, who was once again cradling his head with both hands. Who was rocking back and forth on the couch, muttering to himself. Obviously not listening to a word they were saying.

Oh gosh, he really… Yeah. A fall from an apartment building can certainly do that to you.

Haunted Specters, Chapter 6

What if… What if this was a mistake? What if he’d just freed a common criminal?

Well, UM.

“Oh. Oh, right. That makes sense.” A moment’s pause. “…Wait, wouldn’t I be walking backwards then, making your six my twelve?” “…” “Or uh… I’ll just turn the clock around and make my twelve six so it’ll still be right side up for you.” “… I doubt this conversation would be any different if I were having it with a young child.”

Oh my gooosh. He’s really like this huh. He’s really just Like This.

“Oh. … Well, that’s good! That nobody else is stuck here, I mean, not the… the selling.” “Stop wasting time on such trivial sentiments and prepare yourself.”

“Trivial sentiments”… I just… He’s really always Like This. Your version of the phantom is so talkative, something I noticed pretty early on, but I love it, honestly. He could have easily just ignored the statement and continued to tend to the task at hand here, not saying anything, and Bobby would have easily taken that cue and also started to focus more and not really said anything further, but oh, no, the phantom just had to throw in some kind of remark. Not replying would have conveyed the same meaning, but this guy? He’s absolutely gonna say something. He didn’t have to equate Bobby to a child either, easily could have chosen to say nothing. BUT HERE WE ARE. I love it.

Two strangers, guarding each other with their lives on the gamble they’d both make it out in one piece.

Incredible. Incredible!

“What…? Friendship?” For the first time since they’d met, the man’s voice showed more than a stoic nature. Some sort of subdued confusion. “… Wasn’t it… justice?”

THIS MOMENT IS GOLDEN. Yes, YES.

And, you know, his brain’s all muddled, he’s missing huge chunks of his memory… And he really is kind of blurting this out at this point? Like a knee-jerk reaction. He’s reaching for a – for a memory that just comes to him even if he can’t quite put it in full context, or even if he CAN, he really says this without thinking. Because even if he was suffering from this confusion, I am very certain that he would not just blurt it out like that under normal circumstances. No. This man is half out of his mind! He must know that Bobby doesn’t recognise him and he has no real reason to tip him off otherwise right now (because it could backfire very easily if Bobby freezes up or freaks out as a result!), to ask him like that... Haaah. I’m so here for really-not-all-there phantom.

Still, even through their little exchange, Sam looked blissfully lost. As if he truly didn’t understand what they were discussing about the Phantom. About him. What a pathetic little farce.

This really did have me genuinely uncertain what to think. Like, how much of “Sam Specter” is a farce? How invested was the phantom into that role? The phantom understands English perfectly, but because Sam supposedly doesn’t… Was it possible at all that selective hearing was truly at play? That the phantom gets so deep into the role that he tricks himself, his brain, into not really understanding English properly – refusing to process it? At least, that’s what I thought at the time. Bobby makes the requests for the phantom in Cohdopian, after all. He doesn’t just casually sit there and say “hey phantom, come out” in English. Switching between “Sam” and “the phantom” evidently takes… some effort for him. And mind you, I was putting all of this (selective hearing etc.) down to the results of the fall as well. I mean, if the phantom was “Sam” under normal circumstances before the fall he’d be able to understand English perfectly well, he’d just pretend he couldn’t, and also that he’d be able to switch in and out and between personas quite easily. But that the fall did things to his mind to make it all more difficult, for him to now be able to engage in this selective understanding, is what I figured.

But… maybe Simon’s right. Maybe he still really does understand everything they say, and is just faking it. He’s such a good actor that it really is hard to tell.

And maybe the simple fact is that it’s still easy for the phantom to switch between personas, it’s just difficult to switch out of them since he has so little sense of self. And maybe that’s just the way it always has been and the fall didn’t actually change that.

Sam’s personhood hinges on how “conscious” the phantom is while Sam is in place. The less the phantom is actually present (selective hearing etc), the more “Sam” is just Sam. But it’s later implied (more than once I think) that the phantom really is just, conscious while he is Sam, and that being “brought out” is not such an immense struggle as it otherwise could be. And yet, at the same time, the narrative seems to want to tilt us in favour of acknowledging Sam as a… a person, his own person. Of sorts. And… I guess it makes sense(?). During the whole of Dual Destinies, even if every action taken by “Bobby” was consciously chosen by the phantom… Those actions were all taken for a reason, all matching up to the consistent persona “Bobby Fulbright”. Both “Bobby” and the phantom would make a choice or engage in a behaviour for the most part, even if the reasoning was different at times they were united on the action itself. Sam is… kind of the same? He is the spitting image of what used to be a real human being, all of his outward actions and behaviours (are intended to) replicate that human being. By cobbling together some approximation of a real person like this, it is perhaps easier to treat them like a real person if they behave in all intents and purposes as such. Especially considering the circumstances. There’s a constant duality going on which I guess is what we’re supposed to settle on? The phantom never really goes away, he’s always there behind the scenes. But Sam’s there too, and we gotta treat him as real or things kinda just fall apart, really. There’s also much to be said for how Sam’s personhood is as much constituted to the extent that it’s acknowledged by those around him, too. We can’t just look at it on its own. It’s also something that’s made more “real” by others treating it and to an extent acknowledging it as real. Even if, in the very end, there might be nothing truly behind it.

THERE IT IS. Right off the bat, I just gotta say: the phantom is really channelling his inner Franziska. XD. Addressing characters by their FULL NAMES. I noticed it quite a bit in the sense that it is, very consistent within his speech pattern, almost making it a kind of “character trait” of a man who himself claims to have no real character. But of course – it makes it stand out all the more when switching to “Prosecutor Blackquill” instead.

”If you attempt to lay a hand on Sam Specter a second time, I will not hesitate to interfere and protect him.”

Here it is, the phantom himself almost treating Sam like a completely separate person… I… don’t think he would have taken this approach before the fall. Hmm. BUT ALSO. Here he’s also implying that he is conscious enough while behaving as Sam to be able to “not hesitate to interfere and protect him”. Hmm!

“Watch your tongue before I cut it off,” he hissed. “I would never lay a hand on Fulbright.” “… See that you don’t.”

Me: I WELL AND TRULY DO NOT UNDERSTAND AT ALL, WHAT IS GOING ON, the phantom is protective of Bobby, well and truly his brain was influenced by that fall.

Simon really is/was in the exact same boat, honestly.

Now we have the smuggling ring brought up, the March 2019 exposure referenced, another reference to how there was a mole in interpol before… And I was kind of like, “hm! You know! There’s a certain character this brings to mind, yet unfortunately they’re nowhere in sight. Kinda really sucks they’re not a character in this fic series, honestly!” Yes, such a shame, really.

”[…] That’s why we need to expose the involvement of Lex Luster […]”

Me, reading this for the first time: Wait. Lex… Le…x. Huh. That’s… for some reason, that name rings a bell. Ah – that’s right. This “Lex”, he’s quite an important character, isn’t he? From what tiny random scraps of information I’ve seen about this fic series (from years ago!)… Yes. I’m pretty sure that this “Lex” character will be showing up quite a lot going forward.

...Well, I wasn’t wrong.

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