#COME ON FANARTISTS WHOOOO

[gingebreadbeetle]

Hazbin hotel critics that rewrite or redesign the show have my heart. This is an appreciation post. I love you all. Any time someone redo’s sir Pentious? You BET I’m eating that up. FEM SIR PENTIOUS?? WAITER, MORE PLEASE!!!!

Seriously the creative ideas artists and writers use from the base of the show — idk how to explain it I wish that those rewrites WERE the real show because i LOVE them.

Also, if you’re someone who is a fan of Hazbin hotel and you find a blog that is rewriting or redesigning the show and go out of your way to attack them, you suck lmfao. ( I’ve seen this happen before, like, girl?)

Conclusion is support artists and writers even if they don’t like your show because they’re great and so creative and they carry so hard.

Yhhhh goodnight tristate area because im barely hanging

[aporeticelenchus]

CoMC17: Week 3 part 1

This is a strange set of chapters. They’re transitional; we’re being moved out of the 1815 plotline, where Edmond was betrayed, and the 14 years in prison plotline, but we’re not exactly in a new plotline yet. Quite a lot happens, and it’s important stuff, but it still hasn’t settled into a full arc imo. Plotlines have to be wrapped up – Edmond must confirm what he already suspects about Danglars and Fernand, find his treasure, and learn the fates of Mercedes and his father. These are not news to the reader, who has had more access to the outside world than Edmond, but Dumas decides to cover them in a way that shows us Edmond’s emotional turmoil and further motivates the next arc we haven’t started yet. Oh, and of course Edmond has to actually get the dang treasure. In short, while the events are crucial, they still feel like Dumas setting up his chessboard for a game that hasn’t started. I’m glad these chapter are here, as I do think they make for a good bookend to the 1815 arc, but they still feel a little odd.

21

This chapter is always hilarious to me. YES IT IS I, A REPUTABLE SAILOR MAN, DEFINITELY NOT AN ESCAPEE.

There’s a line about Edmond responding in “bad Italian.” This must be faked, right? After 10 years learning languages with Faria the Italian?

Despite how trusting Edmond is, he’s always had a capacity for sneakiness and deception and he’s honing that. Well done staying cool under pressure.

I know Jacapo isn’t very important, but I kind of love him.

A timeline note for myself: Edmond is in prison for 14 years, from 1815-1829. Ages 19 – 33. He met Faria in year 4, which meant he spend ten years working with him and learning from him.

22

Edmond meeting up with a crew of smugglers seems not only particularly fortuitous – of course they don’t mind his potential shady background and see it as extra reason he wouldn’t inform on them – but also as the 1815 plot coming full circle, given the strong hints that Edmond dabbled in smuggling back then.

Time for a lot of physical description! I’m sure the 1840s fanartists and illustrators were grateful.

HECK YEAH BEARD COMMENTARY. The history of beards as symbols is ever fascinating to me, and in some alternate universe I’m writing a dissertation on it.

I’m not sure how I feel about the comments on Edmond’s “Aristocratic beauty.” I suspect some deliberate irony on Dumas’ part, since he deliberately links this to Edmond’s decade and a half in prison – a fate he suffered in large part because he was too much of a poor nobody for the system to care about crushing and burying him.

Victor Hugo made me vigilant about tracking animal comparisons; Edmond can see well in the dark, like “the hyena and the wolf.”

We also learn how Dumas is picturing his sailors: White trousers, striped shirt, Phyrgian cap. I’m not sure if the repeated mentions of the cap are meant to be symbolic of Edmond’s newfound freedom*

*as a classicist-adjacent academic I need to complain again that this is a mixup of ancient practices and also that no one, ever, in the history of the world, has looked good in a Phrygian cap.

23 - 24

Dumas manages to infuse a lot of drama and a whole lot of prose into a man with direction to a treasure finding a treasure at exactly the place the directions said it would be, with no real obstacles in his way.

Surprise! The treasure is just where we thought! The island is empty! Whoooo.

Jacapo is still fantastic and still in love with Edmond. Hey Dumas, can we keep him? And maybe find him a nice love interest with less baggage?

I’m glad Edmond made some friends, even if he’s already getting judgmental and condescending about them now that he’s fabulously wealthy.

(I think from context that Dumas meant this as a kind of social commentary on how fast circumstances can change how a person sees the world, but I do also wonder if he’s traumatized by Faria’s recent death and his repeated loss of loved ones. That would be an understandable reason to not want to grow close to people.)