I have exciting (for me) news!
We have a new person who will be around mentioned around this blog and that is my friend Juliana!
Juliana is the head of the department of Holding Me Accountable For Playing Layton. Since she doesn’t really know Layton very well but she likes watching her friends do things they like, she’s going to carry the enthusiasm when I can’t and drag me through Azran Legacy if she has to until my will to actually do things, even things I used to love until my bipolar hit an all time low that lasted all summer and I’m still sort of hanging on that cliff like Randall where I could fall back down or maybe be held up, but either way, once or twice a week she’s going to go over and watch me play and help me with puzzles. Last night, for the first time since… June? July? I actually played a little bit and we even solved a puzzle tomorrow. I still don’t trust myself to not completely ruin this because I do have a tendency to do that sometimes, but… I have a feeling Juliana won’t let me and maybe I’ll even be able to come up with a joke or two? We’ll see.
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not me still writing my ba thesis, not having started my masters, but coming up with a topic i desperately wanna write my ma thesis about
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(un)cool anon is going to singlehandedly revive my fanfiction writer career
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one problem with a theatrical adaption of tlt is htn, where the reveal that Gideon lives on works because of the change of second person to first.
the only way i can think of it working is that the actor playing gideon works backstage, like the lights system (but is hidden from the audience aside from subtle hints)
the biggest hint is when when wake breaches pal's river bubble she 'breaks' the lighting system and the stage goes dark. harrow is ushered into the wings by pal so she doesn't see anything, but the lights flick back on just before the curtains drop for a scene change, and pal looks directly up at the light box in surprise and smiles. if the audience is quick to turn around they can see a flash of a black robe.
Oh boy my friend, have you come to the right place!!
So, fun fact about ninja. Bear with me, I am going somewhere with this. The image of a ninja covered head to toe in black, with a hood and mask, comes from Kabuki theatre. It was originally a stagehand uniform. Like stagehands in modern theatre, stagehands in Kabuki would wear all black to signify that they were not really there, and whatever effect they were causing (carrying a prop, creating a breeze, ect.) was to be taken as happening on its own. Basic stagehand stuff, a lot of productions in many styles around the world do it, especially if they don't have fancy rigging systems.
Someone (I don't remember who now, or in what play) had the idea to dress the ninja in a production up as a stagehand. In the convention of the theatre, this made them invisible. The audience was already so used to ignoring stagehands, they didn't know any more than the characters that the ninja was present, despite the actor being clearly visible on stage. Which meant when the ninja struck, it was as if out of nowhere. I can only imagine the uproar in the theatre the first time it happened. It worked so well as to become commonplace, and the rest is history. The popular image of a ninja is still a kabuki stagehand.
So, back to the stage play of Harrow the Ninth. I think you've hit almost exactly on how to incorporate the Gideon twist into a theatrical production. But not as a lighting tech. Gideon is a stage hand. Maybe there would be more than one stagehand, maybe she would be the only one, but she would operate in full view of the audience, literally setting the scenes. I think it works best if she's the only one, but if the production needs more, she should subtly stand out in some way.
As the play went on, we would notice that this one stage hand... increasingly interacts with Harrow, though Harrow never acknowledges it. At first it might look like she's playing Harrow's necromancy, because that would be the main special effect she would need to help with. When Harrow is unconscious at the end of a scene, it's always the same stagehand carrying her out. But we all know she's not really there. Until Palamedes acknowledges her. Turns to look right at her, and speaks to her.
I can see the scene clearly. He would look at her, stunned, until Gideon finally took off her mask. The line "Kill us twice, shame on God," would be addressed to Gideon, and then he would turn back to Harrow, kiss her on the forehead, and tell her to go. Gideon, always out of Harrow's line of sight, would guide Harrow away while Harrow looked back at Palamedes.
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additional doodles of The Silly
i love the idea of fakey being solid Most of the time... until its convenient for it. either it gets goopy when its feeling strong emotions or if its just like ‘oh im being pushed away?? you’re pushing me? well thats incorrect. im slime now. hi :)’
also ive been drawing and writing a lot of freaky/antagonistic interactions with these two so peppi deserved a hug
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this is somewhat of a vent post & something i said i would not do again but has been plaguing me enough that i think getting it out might feel better. so. has anydoggy else been. Baffled and upset by nora sakavic’s refusal to speak on how terribly aftg has treated its characters of color? with the author of the series coming back with a new book and starting up on her online activity again, and questions of what she’d change about aftg bubbling up, it’s particularly glaring to me that we are all playing this very long game of pretend where we ignore how badly the non-white cast has been treated & her lack of thoughts on it
and i understand not wanting to bring up nicky and thea because people pick on her for it. i’m not trying to discredit nora sakavic’s terrible history of getting harrassed online by aftg fans. but i think it is very cynical, and it is very juvenile, and most of all very cruel, that she gets to ignore the very real ways the books have set up these characters to be hated. i think it’s obvious why the characters who get the most hate are the only canonical characters of color, and i think we do not get to treat this like a deliberate decision on the fandom’s part when the books have put these same characters in degrading and embarrassing and terrible positions in the first place. aftg is not a story about nice characters with clean pasts, but there is a very specific nastiness to the only characters of color being a brown man who sexually harasses and later assaults the main character, a black woman whose only scene is her lashing out at her love interest after being ignored for the first two books, and the japanese villain who gets maybe two lines of complexity before he goes back to being a terrible person. the white cast, in comparison, while not at all free from flaws, are never shown to commit mindless evil; all of their actions are ultimately justified. the book goes out of its way to give them concession after concession. we know exactly who to side with, because aftg tells us who these people are. does nicky’s assault ever get addressed in the books? does riko’s reasoning to be the way that he is ever gets more than briefly aluded to? is thea reserved even a shred of humanity or grace in her one scene?
anyway. it’s been years of talking about this and the fandom has been constantly hostile to criticism in this regard, and more recently any criticism at all, and it’s Grating to be on the other side of this discussion. it’s exhausting to know that in ten years we do not get even an acknowledgment besides the author saying she will not answer questions about nicky and thea anymore. it’s upsetting and it’s ugly and i wish no one had to talk about this again, but we do because what i thought was common sense has been washed away by a sudden influx of no-nuance adoration for the trilogy. basically i hope we all explode
two hours later edit: you're allowed to reblog this! sorry about the confusion
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