dip-me-in-lava

Latest Posts by dip-me-in-lava

The first set of Pride Knights featuring an animal theme is finally finished! Super happy with how they turned out. Thank you everyone for your feedback! ⚔️ 🌈 

new ocs <3 i love them so much

guillermo de la cruz is literally THE most character of all time. hes gay. hes latino. hes fat. hes badass. hes sexy. hes a serial killer. hes a mamas boy. hes insane. hes the most normal one here. hes by birth and lineage a vampire killer. hes spent 13 years trying to become a vampire. hes my best friend hes my pal, my homeboy, my rotten soldier, hes my sweet cheese my good time boy

There is something so fun about the abundance of eye imagery in a completely non visual medium

How I imagine Jons scars :]

Tumblr should appreciate Two Crabs by Vincent Van Gogh more

It's two crabs, whats not to love

Someone who is good at drawing I need art of tma character in the Tshirts form the jackbox game from the most Recent live stream.

I need jarchivist in the "jonny is the problem" shirt and Martin in the "Alex is the real problem"

Also someone in the Gay Dig shirt and the elias and peter divorce court shirt.

@morethanfantasy i’m in the airport and i have a few ophelia thoughts left rattling around in my skull so let’s do this

i think the thing that makes ophelia so fascinating to me out of all the characters in hamlet is that we never really get to see what she’s thinking. every scene she’s in, every interaction she has, is colored in a certain level of uncertainty, because the complicated power dynamics involved mean it’s hard to tell what’s genuine and what’s a carefully curated persona to survive in elsinore. take her first scene with polonius. i’ve played it several different ways in the past: she’s genuinely confused about hamlet and wants his advice, she’s fully in love but he’s kinda talking her out of it, she’s rolling her eyes behind his back… we don’t actually ever get her take on this scene, so textually any of them could be a correct read.

The only time that Ophelia speaks directly to the audience and not to another character is directly after the nunnery scene. Hamlet runs out and Ophelia spends a few lines lamenting his change (lines that tell us a lot about the previous dynamics at elsinore and i think could be incorporated into design and directing choices a lot more), and then Polonius and Claudius leave their hiding place and discuss what to do next.

While this monologue could be read as Ophelia telling us her true feelings, I have two problems with that. First: she doesn’t? really? say anything?? don’t get me wrong, hamlet being the rose of elsinore’s court is fascinating, but it doesn’t tell us anything about how ophelia feels. it doesn’t tell us if she loves him, if she stopped loving him, if they’ve had sex and she’s freaking out cause now he’s said that he’ll never marry her (something that she may well be thinking based on the mad scenes). even when talking to the audience, she’s putting up a bit of a front. she’s telling us much less than we think she is.

Second (and this may explain the first): the entire conceit of this scene is that ophelia is being observed. claudius and polonius are watching from hiding the whole time, and while hamlet may or may not know that, ophelia is perfectly aware of it the whole time. she’s still performing because she’s still being watched. she can’t scream in anger or punch the wall or laugh hysterically or respond with any genuine emotional reaction because she’s still under her father and the king’s censorious eyes. It’s appropriate. The one time ophelia seems to speak her own thoughts, and she’s not really alone, just pretending to be, in front of the most powerful people in the world. hamlet may be fucking around with metatheatricality, but ophelia’s the one who’s really on a stage.

a lot of shakespeare plays have characters that never really talk to the audience directly. it’s normal. but it would be a very different experience if we never knew what juliet was feeling, or whether regan truly loved her father, or if malcolm wanted his country back. and it’s especially fascinating that we have this inscrutable character here, in the introspection play! i’d argue that we can tell what pretty much any of the other characters are feeling based on genuine conversations and monologues, which makes ophelia a fascinating foil to the obsessively introspective hamlet. how much different would the story be if the perspectives were flipped, if we got ophelia’s thoughts and not hamlet’s? would her inner monologue look like his or something completely different? i could spend YEARS trying to develop a coherent idea of ophelia’s psyche and i’d never know if it’s true.

and of COURSE that expresses itself in ophelia’s madness. hamlet makes jokes and puns and messes with his clothes and acts like he’s smarter than everyone else. ophelia starts fully speaking in code. you need 5 layers of context, some of which is known only by her, to follow what she’s saying. it does seem like it all has a meaning, though. my read on it is that for the first time in her life ophelia is able to say exactly what she thinks, without couching it in politics or politeness, by using songs and references and obliqueness so that none of the people around her have any idea what she’s saying to their faces. is that intentional on her part? up to interpretation. she might have truly been driven mad by grief and fear and powerlessness and this is the only way she can make sense of the world now. she may have simply decided to quit the power games of elsinore and is entirely lucid. (side note, it’s definitely relevant that scholars have been having the is-the-madness-real discussion about both hamlet and ophelia for ages. more parallels!) the point is, we’ll never know. we’ll never know if her death was a suicide, an accident, or a murder. in a play where we know everything about hamlet, we know next to nothing about ophelia.

personally, i think that tells us quite a lot. hamlet has some fascinating power dynamics, and the fact that even the structure of the play gives hamlet freedom to express himself at length while taking away ophelia’s voice is a clever way to show their positions in elsinore and the way that the social structure traps characters in the narrative. it also shows us our own blind spots as an audience, if we’re willing to see them. while the play is all too willing to show us the story of hamlet, there’s another story going on that it does its best to obscure from us. by the time we see that something invisible is going on with ophelia, it’s too late. it’s the mad scene and she’s already gone.

One episode of TMA that I will NEVER be able to shut up about is 170 (Recollection). The first episode that made me properly cry! Not only is it a beautiful exploration of Martin as a character, but humanity in general.

The light, innocent, childish small talk that Martin offers to the tape recorder. He tries so hard to keep it comforted, welcome in his home, looked after. It'd be wrong of course, to ignore it, even in his despair; others should always be put first.

Through tangled, rambling sentences, Martin manages to always explain away his own emotions, actions... To be visibly uncomfortable, unwelcoming, is wrong. He offers up his life, details of his existence, but talks them into offhanded mentions.

The subtle embarrassment he has for himself; a hallmark of much of English society. Everyone must be a self contained functioning person, lest they risk being 'odd', 'troubled', perhaps even 'disruptive'.

And as Martin's inhibitions fade, as his memories of everything grow dim, his instinctual desperation shows so painfully through. Desperately reaching for answers, as a child desperately holds their hand out for an absent parent.

Martin never had a safe person to reach for, someone always there for him. His father gone before he really knew who he was, his mother infinitely distainful... This abandonment mirrored by Jon's absence that floats into his mind in phases.

And even to be denied the pain, to forget what you were crying about, there's something terrible about it. Feeling the lump in your throat, the tears on your cheeks, but never really being sure why they were there, if they even are.

And the chairs. To be denied the simple comfort of a soft place to rest.

Martin's eventual return to his duties, caring for his mother, the subtle falsified joy he finds in it, and his decline into self hatred, blame. How easy it is for him to find his way back to a place of insecurity even when he has nothing to grasp onto.

And how strong he stays. How ready he is to shoulder the blame, to carry on, to be there for anyone who might need him, anything. It's all outside, and when he falls deeper into the fog his internal, pressed down emotions spill out.

All of Martin's fears come from a place of worrying he isn't enough, and this domain reduces him to a state where he is nothing; and yet, he prevails.

…

I found a incorrect quotes maker and had to put LonleyEyes through it + Martin

All the entities of the Magnus archives in one place because i learnt that the Tumblr photo limit was higher than I thought.

Anyways this has been a fun series to draw for and have enjoyed seeing you guys feedback for it

well you heard em

The entire experience of watching a Shakespearean comedy is hearing the female leads say most beautifully romantic things to each other for an hour or so until one or both of them falls unconvincingly for a man who is either duller than a sweet cream milkshake or definitely gay.

I miss studying abroad

enjoy some malevolent memes (spoilers for all episodes !!)

My sexual orientation is whatever the fuck John Leguizamo was doing as Tybalt

such a beautiful boy

filled with so much sin

Details about the original resj Tybalt that make me go insane and changed me as a person:

Although he mentions his father told him “women were just objects”, his closest relationships seem to be with women. He does not seem to respect or like Lord Capulet all that much, but listens to Lady Capulet when she tells him to fix the Romeo situation (he says “I’ll clean this up with his blood” and she replies “Go do it”). The other (and the only normal and healthy) close relationship he has is with the Nurse. He even holds he hand at the ball (which is saying something considering he is so gloomy all the time). This makes me wonder: was the Nurse his nurse as a child, or did he just spend a lot of time with her and Juliet? It’s unlikely he grew up with the Nurse, as it was rare for male children to have nurses (though this Anachronistic Dystopian Verona so who knows but) I’m leaning toward the latter explanation.

He treats the older servant rudely in Act II, but this same servant was gesturing/speaking angrily at him when he hears the gossip about Juliet and Romeo, which makes me think Tybalt is not normally that rude to him and even lets him get mad at him. It seems he is rude and aggressive towards the servants in one moment, then kind and respectful to them in the next. I don’t believe this is an inconsistency in the acting - his emotions and ability to communicate with others are just all over the place.

After he dies, the Nurse hugs his body, and has to be dragged away by a servant.

Also after he dies, two servant women (one of whom was the one who Tybalt grabs in Ez a Kéz Utolér) weep over his body during the entire scene. They don’t even stand up and bow like everyone else when the Prince arrives because they are too busy grieving over his body.

It’s unclear to me if Lady Capulet was ordering him to kill Romeo. She mentions his father’s memorial, and says “everyone will be there. We’re counting on you.”. I don’t know the director’s intent, but I think by saying “everyone will be there” she means that there will be no witnesses (ie the prince) when he goes to harm/kill Romeo.

He and Lord Capulet don't seem to get along. In bootlegs, he turns away when Tybalt has a seizure, and just seems annoyed (maybe even ashamed) by him in general. BUT, the expression on his face when he sees Tybalt’s body is utterly heartbroken. This Lord Capulet is probably the least violent, but he actually rushes at the Montagues to fight them after he finds out Tybalt’s dead. Compare this to Lord Capulet’s unfeeling “we were born to die” speech about Tybalt’s death in Shakespeare.

His impulsiveness seems to be a trait that he shares with Lady Capulet and Juliet. He says things like “when a beloved woman loves someone else, the broken heart will take revenge” and calls Romeo Juliet’s “man” despite the fact they’ve only just met. He’s very dramatic about Juliet only kissing Romeo, and jumps to the conclusion that she loves him immediately. To everyone else that would be a leap, but he’s actually 100 percent correct.

He doesn’t smile ONCE (except bitterly).

At one point he gets Paris away from Juliet and goes to ask her to dance, but she doesn’t see him and goes away before he can ask. He turns back to Paris, who claps at him (presumably making fun of him). Then Tybalt dance-slaps (?) him and congas (it’s not conga-ing but let me have this one) out of the room.

He pours something blue in a cup and drinks it during Belem Eget. I still don’t know what that’s supposed to be. Some kind of medicine for his seizure? An alcoholic drink? Poison? I’m not sure, but there must have been a reason the director chose to do that.

I’ve heard it theorized that the doll he keeps in the cabinet where he keeps the locket (so presumably the things that are secret and important to him) is meant to actually be Juliet. I don’t think that’s the case, in part due to the fact that the doll has light blonde hair, while the main Juliet has darker blonde hair, and the alternate has brown. It’s also unlikely that someone got him the doll, because it’s a “girl” toy. If they wanted to, they could easily have made it a stuffed animal or something that was not meant exclusively for girls, but they didn’t, which makes me think it was actually Juliet’s doll. So either he took it, or Juliet gave it to him, which is why he cherishes it (hopefully the latter explanation). Obviously it’s meant to represent the childhood innocence that was stolen for him, but it seems to me it also could imply he was close with Juliet at one point.

He holds the locket all the time. It appears he grabs it when he has a seizure, and in Bélem Égett after he takes it out of the safe (?) he puts it in for safekeeping. After Mercutio taunts him by ripping the locket off, Tybalt reaches for it while Mercutio holds it, and goes to pick it up after he throws it. He wraps it around his left hand before stabbing Mercutio, then goes offstage. When he comes back, he is wearing the locket.

Speaking of, when he comes back when Mercutio is dying, he (and the other Capulets) goes to catch Mercutio when he falls (this is easier to see in another bootleg). After Mercutio dies, Tybalt goes off to the side of the stage and holds the locket he’s wearing again. He still holds it when Romeo rushes at him, and makes a really weak attempt to defend himself before he dies. I think it’s possible his very weak attempt at self-defense is meant to imply that he actually wants to die.

It’s not actually a small detail, but the way he considers not fighting Romeo during the duel is so important (to me at least). This says so much, especially considering he has an extra reason to hate the Montagues (they killed his father).

Romeo has a reputation as a “ladies man”. Tybalt calls him a “heartbreaker” or “Don Juan” or something to that effect. Obviously, his feelings about Romeo stem from jealousy, but also from the fact that he truly believes Romeo is just using Juliet and will break her heart and ruin her reputation.

Please note I’m not trying to excuse his behavior! He has issues and I’m not denying that. I just find these details really interesting.

some twitter dot com shenanigans, might as well post this here too :D

Denisse Ariana Pérez

Filipiniana inspired by the Entities (the Eye, the Vast, the Dark)

[ID: Three drawings of three modelled Filipinianas against a shared background which looks like aged paper. Each one is labelled a different entity which goes, from left to right, the Eye, the Vast, and the Dark. All the models are faceless. Three close ups follow the main image.

The Eye Filipiniana is an 1890s traje de mestiza featuring a brown panuelo with green embroidered trimming resembling ink pen tips and green strips resembling eyelashes at the opening, a translucent wide-sleeved striped baro in alternating off-white and green with green embroidered eyes for trimming, a dark cyan tapis with rows of books patterned on, and a silky striped saya in alternating yellow and green with an eye where the saya and the tapis meet and embroidery of people walking at the hem. Finished with accessories of a silky green necklace with a hanging realistic eye and a dark blue folding fan with an eye pattern. The model has brown skin and straight black hair up in a bun.

The Vast Filipiniana is a Commonwealth Era Style Baro’t Saya featuring a violet umbrella with a bright galaxy on the inside that the model holds on her shoulder, a magenta panuelo with yellow and orange stripes held together with a bright yellow star-shaped medallion, wide translucent butterfly-sleeved baro with a sunset to sky blue gradient from top to bottom with embroidered white clouds on the sleeves, a tapis with different shades of blue going from a light blue to dark blue top to bottom with embroidered silver fish of differing sizes, and a silky dark-blue-to-deep-blue saya with a long saya de cola with dark silhouettes resembling tentacles creeping up the sides. The model has pale tan skin and wavy hair held up in a loose lower bun.

The Dark Filipiniana is an 1840s Baro’t Saya styled for church-wear featuring a translucent plaid-patterned magenta panuelo, a striped straight-sleeved camisa in alternating dark magenta and off-white, a dark purple tapis embroidered with hands in alternating red and blue gripping each other by the wrist, a plaid-patterned magenta saya, and dark purple sandals. The models holds a dark purple hood over her head, the outside is a dark purple trimmed with white embroidery meant to look like closed eyes, the inside is a dark mass filled with open white eyes in strange positions, the dark mass drips down the edges of the hood, some eyes following. The model has ashy tan skin and combed back brown hair. 

./.End ID]

Finally finished it! I’ve wanted to do this for a while but pushed it off until now. The Entities as a couple versions of the Filipiniana. I don’t have plans rn to make the others since I suspect I will soon be busy again. Still, I have some ideas, particularly for the Web. Have a favourite?

My inspiration+info under the cut! :D

Keep reading

podcast mutuals posting about john doe. musical theater mutuals posting about jane doe. all is right with the world.

Hmmmm

YOU WANNA GET RID OF THOSE STUPID FUCKING WATERMARKS?

Just get your picture

CHOOSE the fucking smudge tool dude

and WAM

i think about helen a lot

slut era (just want hugs and attention)

I support women in STEM (Scary experiments,Time loops,Existential dilemmas,Madness).

louis cradling and crying over lestat after slitting his throat himself.... that's gothic romance excellence